Authors: William Gibson
To Otey Williams Gibson, my mother,and to Mildred Barnitz, her truedear friend and mine, with loveTable of Contents
The Gernsback Continuum
Fragments of a Hologram Rose
The Belonging Kind
Red Star, Winter Orbit
New Rose Hotel
The Winter Market
About the Author
By the same author
About the PublisherPreface
If poets are the unacknowledged legislators of the world, science-fiction writers are its court jesters. We are Wise Fools who can leap, caper, utter prophecies, and scratch ourselves in public. We can play with Big Ideas because the garish motley of our pulp origins makes us seem harmless.
And SF writers have every opportunity to kick up our heels â we have influence without responsibility. Very few feel obliged to take us seriously, yet our ideas permeate the culture, bubbling along invisibly, like background radiation.
Yet the sad truth of the matter is that SF has not been much fun of late. All forms of pop culture go through doldrums; they catch cold when society sneezes. If SF in the late Seventies was confused, self-involved, and stale, it was scarcely a cause for wonder.
But William Gibson is one of our best harbingers of better things to come.
His brief career has already established him as a definitive Eighties writer. His amazing first novel,Neuromancer,which swept the field's awards in 1985, showed Gibson's unparalleled ability to pinpoint social nerves. The effect was galvanic, helping to wake the genre from its dogmatic slumbers. Roused from its hibernation, SF is lurching from its cave into the bright sunlight of the modern Zeitgeist. And we are lean and hungry and not in the best of tempers. From now on things are going to be different.
The collection you hold now contains all of Gibson's shorter work to date. It's a rare chance to see the astonishingly rapid development of a major writer.
The tack he intended to take was already visible in his first published story, âFragments of a Hologram Rose,' from 1977. The Gibson trademarks are already present: a complex synthesis of modern pop culture, high tech, and advanced literary technique.
Gibson's second story, âThe Gernsback Continuum,' shows him consciously drawing a bead on the shambling figure of the SF tradition. It's a devastating refutation of âscientifiction' in its guise as narrow technolatry. We see here a writer who knows his roots and is gearing up for a radical reformation.
Gibson hit his stride with the Sprawl series: âJohnny Mnemonic,' âNew Rose Hotel,' and the incredible âBurning Chrome.' The appearance of these stories inOmnimagazine showed a level of imaginative concentration that effectively upped the ante for the entire genre. These densely packed, baroque stories repay several readings for their hard-edged, gloomy passion and intensely realized detail.
The triumph of these pieces was their brilliant, self-consistent evocation of a credible future. It is hard to overestimate the difficulty of this effort, which is one that many SF writers have been ducking for years. This intellectual failing accounts for the ominous proliferation of postapocalypse stories, sword-and-sorcery fantasies, and those everpresent space operas in which galactic empires slip conveniently back into barbarism. All these subgenres are products of the writers' urgent necessity to avoid tangling with a realistic future.
But in the Sprawl stories we see a future that is recognizably and painstakingly drawn from the moderncondition. It is multifaceted, sophisticated, global in its view. It derives from a new set of starting points: not from the shopworn formula of robots, spaceships, and the modern miracle of atomic energy, but from cybernetics, biotech, and the communications web â to name a few.
Gibson's extrapolative techniques are those of classic hard SF, but his demonstration of them is pure New Wave. Rather than the usual passionless techies and rock-ribbed Competent Men of hard SF, his characters are a pirate's crew of losers, hustlers, spin-offs, castoffs, and lunatics. We see his future from the belly up, as it is lived, not merely as dry speculation.
Gibson puts an end to that fertile Gernsbackian archetype, Ralph 124C41+, a white-bread technocrat in his ivory tower, who showers the blessings of superscience upon the hoi polloi. In Gibson's work we find ourselves in the streets and alleys, in a realm of sweaty, white-knuckled survival, where high tech is a constant subliminal hum, âlike a deranged experiment in social Darwinism, designed by a bored researcher who kept one thumb permanently on the fast-forward button.'
Big Science in this world is not a source of quaint Mr Wizard marvels, but an omnipresent, all-permeating, definitive force. It is a sheet of mutating radiation pouring through a crowd, a jam-packed Global Bus roaring wildly up an exponential slope.
These stories paint an instantly recognizable portrait of the modern predicament. Gibson's extrapolations show, with exaggerated clarity, the hidden bulk of a iceberg of social change. This iceberg now glides with sinister majesty across the surface of the late twentieth century, but its proportions are vast and dark.
Many SF authors, faced with this lurking monster, have flung up their hands and predicted shipwreck. Though noone could accuse Gibson of Pollyannaism, he has avoided this easy out. This is another distinguishing mark of the emergent new school of Eighties SF: its boredom with the Apocalypse. Gibson wastes very little time shaking his finger or wringing his hands. He keeps his eyes unflinchingly open and, as Algis Budrys has pointed out, he is not afraid of hard work. These are signal virtues.
Another sign shows Gibson as part of a growing new consensus of SF: the ease with which he collaborates with other writers. Three such collaborations grace this collection. âThe Belonging Kind' is a rare treat, a dark fantasy bubbling over with lunatic surrealism. âRed Star, Winter Orbit' is another near-future piece with a lovingly detailed, authentic background; with the global, multicultural point of view typical of Eighties SF. âDogfight' is a savagely effective and brutally twisted piece of work, with Gibson's classic one-two combination of lowlife and high tech.
In Gibson we hear the sound of a decade that has finally found its own voice. He is not a table-pounding revolutionary, but a practical, hands-on retrofitter. He is opening the stale corridors of the genre to the fresh air of new data: Eighties culture, with its strange, growing integration of technology and fashion. He has a fondness for the odder and more inventive byways of mainstream lit: Le CarrÃ©, Robert Stone, Pynchon, William Burroughs, Jayne Anne Phillips. And he is a devotee of what J. G. Ballard has perceptively called âinvisible literature': that permeating flow of scientific reports, government documents, and specialized advertising that shapes our culture below the level of recognition.
SF has survived a long winter on its stored body fat. Gibson, along with a broad wave of inventive, ambitiousnew writers, has prodded the genre awake and sent it out on recce for a fresh diet. And it's bound to do us all a power of good.
Bruce SterlingJohnny Mnemonic
I put the shotgun in an Adidas bag and padded it out with four pairs of tennis socks, not my style at all, but that was what I was aiming for: If they think you're crude, go technical; if they think you're technical, go crude. I'm a very technical boy. So I decided to get as crude as possible. These days, though, you have to be pretty technical before you can even aspire to crudeness. I'd had to turn both those twelve-gauge shells from brass stock, on a lathe, and then load then myself; I'd had to dig up an old microfiche with instructions for hand-loading cartridges; I'd had to build a lever-action press to seat the primers â all very tricky. But I knew they'd work.
The meet was set for the Drome at 2300, but I rode the tube three stops past the closest platform and walked back. Immaculate procedure.
I checked myself out in the chrome siding of a coffee kiosk, your basic sharp-faced Caucasoid with a ruff of stiff, dark hair. The girls at Under the Knife were big on Sony Mao, and it was getting harder to keep them from adding the chic suggestion of epicanthic folds. It probably wouldn't fool Ralfi Face, but it might get me next to his table.
The Drome is a single narrow space with a bar down one side and tables along the other, thick with pimps and handlers and an arcane array of dealers. The Magnetic Dog Sisters were on the door that night, and I didn't relish trying to get out past them if things didn't work out. They were two meters tall and thin as greyhounds. Onewas black and the other white, but aside from that they were as nearly identical as cosmetic surgery could make them. They'd been lovers for years and were bad news in a tussle. I was never quite sure which one had originally been male.
Ralfi was sitting at his usual table. Owing me a lot of money. I had hundreds of megabytes stashed in my head on an idiot/savant basis, information I had no conscious access to. Ralfi had left it there. He hadn't, however, come back for it. Only Ralfi could retrieve the data, with a code phrase of his own invention. I'm not cheap to begin with, but my overtime on storage is astronomical. And Ralfi had been very scarce.
Then I'd heard that Ralfi Face wanted to put out a contract on me. So I'd arranged to meet him in the Drome, but I'd arranged it as Edward Bax, clandestine importer, late of Rio and Peking.
The Drome stank of biz, a metallic tang of nervous tension. Muscle-boys scattered through the crowd were flexing stock parts at one another and trying on thin, cold grins, some of them so lost under superstructures of muscle graft that their outlines weren't really human.
Pardon me. Pardon me, friends. Just Eddie Bax here, Fast Eddie the Importer, with his professionally nondescript gym bag, and please ignore this slit, just wide enough to admit his right hand.
Ralfi wasn't alone. Eighty kilos of blond California beef perched alertly in the chair next to his, martial arts written all over him.
Fast Eddie Bax was in the chair opposite them before the beef's hands were off the table. âYou black belt?' I asked eagerly. He nodded, blue eyes running an automatic scanning pattern between my eyes and my hands. âMe, too,' I said. âGot mine here in the bag.' And Ishoved my hand through the slit and thumbed the safety off. Click. âDouble twelve-gauge with the triggers wired together.'
âThat's a gun,' Ralfi said, putting a plump, restraining hand on his boy's taut blue nylon chest. âJohnny has a antique firearm in his bag.' So much for Edward Bax.
I guess he'd always been Ralfi Something or Other, but he owed his acquired surname to a singular vanity. Built something like an overripe pear, he'd worn the once-famous face of Christian White for twenty years â Christian White of the Aryan Reggae Band, Sony Mao to his generation, and final champion of race rock. I'm a whiz at trivia.
Christian White: classic pop face with a singer's high-definition muscles, chiseled cheekbones. Angelic in one light, handsomely depraved in another. But Ralfi's eyes lived behind that face, and they were small and cold and black.
âPlease,' he said, âlet's work this out like businessmen.' His voice was marked by a horrible prehensile sincerity, and the corners of his beautiful Christian White mouth were always wet. âLewis here,' nodding in the beefboy's direction, âis a meatball.' Lewis took this impassively, looking like something built from a kit. âYou aren't a meatball, Johnny.'
âSure I am, Ralfi, a nice meatball chock-full of implants where you can store your dirty laundry while you go off shopping for people to kill me. From my end of this bag, Ralfi, it looks like you've got some explaining to do.'
âIt's this last batch of product, Johnny.' He sighed deeply, âIn my role as broker â'
âFence,' I corrected.
âAs broker, I'm usually very careful as to sources.'
âYou buy only from those who steal the best. Got it.'
He sighed again. âI try,' he said wearily, ânot to buy from fools. This time, I'm afraid, I've done that.' Third sigh was the cue for Lewis to trigger the neural disruptor they'd taped under my side of the table.
I put everything I had into curling the index finger of my right hand, but I no longer seemed to be connected to it. I could feel the metal of the gun and the foam-padded tape I'd wrapped around the stubby grip, but my hands were cool wax, distant and inert. I was hoping Lewis was a true meatball, thick enough to go for the gym bag and snag my rigid trigger finger, but he wasn't.
âWe've been very worried about you, Johnny. Very worried. You see, that's Yakuza property you have there. A fool took it from them, Johnny. A dead fool.'
It all made sense then, an ugly kind of sense, like bags of wet sand settling around my head. Killing wasn't Ralfi's style. Lewis wasn't even Ralfi's style. But he'd got himself stuck between the Sons of the Neon Chrysanthemum and something that belonged to them â or, more likely, something of theirs that belonged to someone else. Ralfi, of course, could use the code phrase to throw me into idiot savant, and I'd spill their hot program without remembering a single quarter tone. For a fence like Ralfi, that would ordinarily have been enough. But not for the Yakuza. The Yakuza would know about Squids, for one thing, and they wouldn't want to worry about one lifting those dim and permanent traces of their program out of my head. I didn't know very much about Squids, but I'd heard stories, and I made it a point never to repeat them to my clients. No, the Yakuza wouldn't like that; it looked too much like evidence. They hadn't got where they were by leaving evidence around. Or alive.
Lewis was grinning. I think he was visualizing a pointjust behind my forehead and imagining how he could get there the hard way.
âHey,' said a low voice, feminine, from somewhere behind my right shoulder, âyou cowboys sure aren't having too lively a time.'
âPack it, bitch,' Lewis said, his tanned face very still. Ralfi looked blank.
âLighten up. You want to buy some good free base?' She pulled up a chair and quickly sat before either of them could stop her. She was barely inside my fixed field of vision, a thin girl with mirrored glasses, her dark hair cut in a rough shag. She wore black leather, open over a T-shirt slashed diagonally with stripes of red and black. âEight thou a gram weight.'
Lewis snorted his exasperation and tried to slap her out of the chair. Somehow he didn't quite connect, and her hand came up and seemed to brush his wrist as it passed. Bright blood sprayed the table. He was clutching his wrist white-knuckle tight, blood tricking from between his fingers.
But hadn't her hand been empty?
He was going to need a tendon stapler. He stood up carefully, without bothering to push his chair back. The chair toppled backward, and he stepped out of my line of sight without a word.
âHe better get a medic to look at that,' she said. âThat's a nasty cut.'
âYou have no idea,' said Ralfi, suddenly sounding very tired, âthe depths of shit you have just gotten yourself into.'
âNo kidding? Mystery. I get real excited by mysteries. Like why your friend here's so quiet. Frozen, like. Or what this thing here is for,' and she held up the littlecontrol unit that she'd somehow taken from Lewis. Ralfi looked ill.
âYou, ah, want maybe a quarter-million to give me that and take a walk?' A fat hand came up to stroke his pale, lean face nervously.
âWhat I want,' she said, snapping her fingers so that the unit spun and glittered, âis work. A job. Your boy hurt his wrist. But a quarter'll do for a retainer.'
Ralfi let his breath out explosively and began to laugh, exposing teeth that hadn't been kept up to the Christian White standard. Then she turned the disruptor off.
âTwo million,' I said.
âMy kind of man,' she said, and laughed. âWhat's in the bag?'
âCrude.' It might have been a compliment.'
Ralfi said nothng at all.
âName's Millions. Molly Millions. You want to get out of here, boss? People are starting to stare.' She stood up. She was wearing leather jeans the color of dried blood.
And I saw for the first time that the mirrored lenses were surgical inlays, the silver rising smoothly from her high cheekbones, sealing her eyes in their sockets. I saw my new face twinned there.
âI'm Johnny,' I said. âWe're taking Mr Face with us.
He was outside, waiting. Looking like your standard tourist tech, in plastic zoris and a silly Hawaiian shirt printed with blowups of his firm's most popular microprocessor; a mild little guy, the kind most likely to wind up drunk on sake in a bar that puts out miniature rice crackers with seaweed garnish. He looked like the kind who sing the corporate anthem and cry, who shake hands endlessly with the bartender. And the pimps and thedealers would leave him alone, pegging him as innately conservative. Not up for much, and careful with his credit when he was.
The way I figured it later, they must have amputated part of his left thumb, somewhere behind the first joint, replacing it with a prosthetic tip, and cored the stump, fitting it with a spool and socket molded from one of the Ono-Sendai diamond analogs. Then they'd carefully wound the spool with three meters of monomolecular filament.
Molly got into some kind of exchange with the Magnetic Dog Sisters, giving me a chance to usher Ralfi through the door with the gym bag pressed lightly against the base of his spine. She seemed to know them. I heard the black one laugh.
I glanced up, out of some passing reflex, maybe because I've never got used to it, to the soaring arcs of light and the shadows of the geodesics above them. Maybe that saved me.
Ralfi kept walking, but I don't think he was trying to escape. I think he'd already given up. Probably he already had an idea of what we were up against.
I looked back down in time to see him explode.
Playback on full recall shows Ralfi stepping toward as the little tech sidles out of nowhere, smiling. Just a suggestion of a bow, and his left thumb falls off. It's a conjuring trick. The thumb hangs suspended. Mirrors? Wires? And Ralfi stops, his back to us, dark crescents of sweat under the armpits of his pale summer suit. He knows. He must have known. And then the joke-shop thumbtip, heavy as lead, arcs out in a lightning yo-yo trick, and the invisible thread connecting it to the killer's hand passes laterally through Ralfi's skull, just above his eyebrows, whips up, and descends, slicing the pear-shaped torso diagonally from shoulder to rib cage. Cutsso fine that no blood flows until synapses misfire and the first tremors surrender the body to gravity.
Ralfi tumbled apart in a pink cloud of fluids, the three mismatched sections rolling forward on to the tiled pavement. In total silence.
I brought the gym bag up, and my hand convulsed. The recoil nearly broke my wrist.
It must have been raining; ribbons of water cascaded from a ruptured geodesic and spattered on the tile behind us. We crouched in the narrow gap between a surgical boutique and an antique shop. She'd just edged one mirrored eye around the corner to report a single Volks module in front of the Drome, red lights flashing. They were sweeping Ralfi up. Asking questions.
I was covered in scorched white fluff. The tennis socks. The gym bag was a ragged plastic cuff around my wrist. âI don't see how the hell I missed him.'
âCause he's fast, so fast.' She hugged her knees and rocked back and forth on her bootheels. âHis nervous system's jacked up. He's factory custom.' She grinned and gave a little squeal of delight. âI'm gonna get that boy. Tonight. He's the best, number one, top dollar, state of the art.'
âWhat you're going to get, for this boy's two million, is my ass out of here. Your boyfriend back there was mostly grown in a vat in Chiba City. He's a Yakuza assassin.'
âChiba. Yeah. See, Molly's been Chiba, too.' And she showed me her hands, fingers slightly spread. Her fingers were slender, tapered, very white against the polished burgundy nails. Ten blades snicked straight out from their recesses beneath her nails, each one a narrow, double-edged scalpel in pale blue steel.
I'd never spent much time in Nighttown. Nobody there had anything to pay me to remember, and most of them had a lot they paid regularly to forget. Generations of sharpshooters had chipped away at the neon until the maintenance crews gave up. Even at noon the arcs were soot-black against faintest pearl.
Where do you go when the world's wealthiest criminal order is feeling for you with calm, distant fingers? Where do you hide from the Yakuza, so powerful that it owns comsats and at least three shuttles? The Yakuza is a true multinational, like ITT and Ono-Sendai. Fifty years before I was born the Yakuza had already absorbed the Triads, the Mafia, the Union Corse.
Molly had an answer: You hide in the Pit, in the lowest circle, where any outside influence generates swift, concentric ripples of raw menace. You hide in Nighttown. Better yet, you hideaboveNighttown, because the Pit's inverted, and the bottom of its bowl touches the sky, the sky that Nighttown never sees, sweating under its own firmament of acrylic resin, up where the Lo Teks crouch in the dark like gargoyles, black-market cigarettes dangling from their lips.
She had another answer, too.
âSo you're locked up good and tight, Johnny-san? No way to get that program without the password?' She led me into the shadows that waited beyond the bright tube platform. The concrete walls were overlaid with graffiti, years of them twisting into a single metascrawl of rage and frustration.
âThe stored data are fed in through a modified series of microsurgical contraautism prostheses.' I reeled off a numb version of my standard sales pitch. âClient's code is stored in a special chip; barring Squids, which we in the trade don't like to talk about, there's no way to recoveryour phrase. Can't drug it out, cut it out, torture it. I don'tknowit, never did.'
âSquids? Crawly things with arms?' We emerged into a deserted street market. Shadowy figures watched us from across a makeshift square littered with fish heads and rotting fruit.
âSuperconducting quantum interference detectors. Used them in the war to find submarines, suss out enemy cyber systems.'
âYeah? Navy stuff? From the war? Squid'll read that chip of yours?' She'd stopped walking, and I felt her eyes on me behind those twin mirrors.
âEven the primitive models could measure a magnetic field a billionth the strength of geomagnetic force; it's like pulling a whisper out of a cheering stadium.'
âCops can do that already, with parabolic microphones and lasers.'
âBut your data's still secure.' Pride in profession. âNo government'll let their cops have Squids, not even the security heavies. Too much chance of interdepartmental funnies; they're too likely to watergate you.'
âNavy stuff,' she said, and her grin gleamed in the shadows. âNavy stuff. I got a friend down here who was in the navy, name's Jones. I think you'd better meet him. He's a junkie, though. So we'll have to take him something.'
He was more than a dolphin, but from another dolphin's point of view he might have seemed like something less. I watched him swirling sluggishly in his galvanized tank. Water slopped over the side, wetting my shoes. He was surplus from the last war. A cyborg.
He rose out of the water, showing us the crusted plates along his sides, a kind of visual pun, his grace nearly lost under articulated armor, clumsy and prehistoric. Twin deformities on either side of his skull had been engineered to house sensor units. Silver lesions gleamed on exposed sections of his gray-white hide.
Molly whistled. Jones thrashed his tail, and more water cascaded down the side of the tank.
âWhat is this place?' I peered at vague shapes in the dark, rusting chain link and things under tarps. Above the tank hung a clumsy wooden framework, crossed and recrossed by rows of dusty Christmas lights.
âFunland. Zoo and carnival rides. “Talk with the War Whale.” All that. Some whale Jones isâ¦'
Jones reared again and fixed me with a sad and ancient eye.
âHow's he talk?' Suddenly I was anxious to go.
That's the catch. Say “hi,” Jones.'
And all the bulbs lit simultaneously. They were flashing red, white, and blue.
âGood with symbols, see, but the code's restricted. In the navy they had him wired into an audiovisual display.' She drew the narrow package from a jacket pocket. âPure shit, Jones. Want it?' He froze in the water and started to sink. I felt a strange panic, remembering that he wasn't a fish, that he could drown. âWe want the key to Johnny's bank, Jones. We want it fast.'
The lights flickered, died.
âGo for it, Jones!'
Blue bulbs, cruciform.
âPure! It'sclean. Come on, Jones.'
White sodium glare washed her features, stark monochrome, shadows cleaving from her cheekbones.
The arms of the red swastika were twisted in her silver glasses. âGive it to him,' I said. âWe've got it.'
Ralfi Face. No imagination.
Jones heaved half his armored bulk over the edge of his tank, and I thought the metal would give way. Molly stabbed him overhand with the Syrette, driving the needle between two plates. Propellant hissed. Patterns of light exploded, spasming across the frame and then fading to black.
We left him drifting, rolling languorously in the dark water. Maybe he was dreaming of his war in the Pacific, of the cyber mines he'd swept, nosing gently into their circuitry with the Squid he'd used to pick Ralfi's pathetic password from the chip buried in my head.
âI can see them slipping up when he was demobbed, letting him out of the navy with that gear intact, but how does a cybernetic dolphin get wired to smack?'
âThe war,' she said. âThey all were. Navy did it. How else you get 'em working for you?'
âI'm not sure this profiles as good business,' the pirate said, angling for better money. âTarget specs on a comsat that isn't in the book â'
âWaste my time and you won't profile at all,' said Molly, leaning across his scarred plastic desk to prod him with her forefinger.
âSo maybe you want to buy your microwaves somewhere else?' he was a tough kid, behind his Mao-job. A Nighttowner by birth, probably.
Her hand blurred down the front of his jacket, completely severing a lapel without even rumpling the fabric.
âSo we got a deal or not?'
âDeal,' he said, staring at his ruined lapel with what he must have hoped was only polite interest. âDeal.'
While I checked the two recorders we'd bought, she extracted the slip of paper I'd given her from the zippered wrist pocket of her jacket. She unfolded it and read silently, moving her lips. She shrugged. âThis is it?'
âShoot,' I said, punching the RECORD studs of the two decks simultaneously.
âChristian White,' she recited, âand his Aryan Reggae Band.'
Faithful Ralfi, a fan to his dying day.
Transition to idiot-savant mode is always less abrupt than I expect it to be. The pirate broadcaster's front was a failing travel agency in a pastel cube that boasted a desk, three chairs, and a faded poster of a Swiss orbital spa. A pair of toy birds with blown-glass bodies and tin legs were sipping monotonously from a Styrofoam cup of water on a ledge beside Molly's shoulder. As I phased into mode, they accelerated gradually until their Day-Glo-feathered crowns became solid arcs of color. The LEDs that told seconds on the plastic wall clock had become meaningless pulsing grids, and Molly and the Mao-faced boy grew hazy, their arms blurring occasionally in insect-quick ghosts of gesture. And then it all faded to cool gray static and an endless tone poem in an artificial language.
I sat and sang dead Ralfi's stolen program for three hours.
The mall runs forty kilometers from end to end, a ragged overlap of Fuller domes roofing what was once a suburban artery. If they turn off the arcs on a clear day, a gray approximation of sunlight filters through layers of arcylic, a view like the prison sketches of Giovanni Piranesi. The three southernmost kilometers roof Nighttown. Nighttown pays no taxes, no utilities. The neon arcs are dead, and the geodesics have been smoked black by decades of cooking fires. In the nearly total darkness of a Nighttown noon, who notices a few dozen mad children lost in the rafters?
We'd been climbing for two hours, up concrete stairs and steel ladders with perforated rungs, past abandoned gantries and dust-covered tools. We'd started in what looked like a disused maintenance yard, stacked with triangular roofing segments. Everything there had beencovered with that same uniform layer of spraybomb graffiti: gang names, initials, dates back to the turn of the century. The graffiti followed us up, gradually thinning until a single name was repeated at intervals, LO TEK. In dripping black capitals.
âWho's Lo Tek?'
âNot us, boss.' She climbed a shivering aluminium ladder and vanished through a hole in a sheet of corrugated plastic. â“Low technique, low technology.”' The plastic muffled her voice. I followed her up, nursing an aching wrist. âLo Teks, they'd think that shotgun trick of yours was effete.'
An hour later I dragged myself up through another hole, this one sawed crookedly in a sagging sheet of plywood, and met my first Lo Tek.
â'S okay,' Molly said, her hand brushing my shoulder, âIt's just Dog. Hey, Dog.'
In the narrow beam of her taped flash, he regarded us with his one eye and slowly extruded a thick length of grayish tongue, licking huge canines. I wondered how they wrote off tooth-bud transplants from Dobermans as low technology. Immunosuppressives don't exactly grow on trees.
âMoll.' Dental augmentation impeded his speech. A string of saliva dangled from his twisted lower lip. âHeard ya comin'. Long time.' He might have been fifteen, but the fangs and a bright mosaic of scars combined with the gaping socket to present a mask of total bestiality. It had taken time and a certain kind of creativity to assemble that face, and his posture told me he enjoyed living behind it. He wore a pair of decaying jeans, black with grime and shiny along the creases. His chest and feet were bare. He did something with his mouth that approximated a grin. âBein' followed, you.'
Far off, down in Nighttown, a water vendor cried his trade.
âStrings jumping, Dog?' She swung her flash to the side, and I saw thin cords tied to eyebolts, cords that ran to the edge and vanished.
âKill the fuckin' light!'
She snapped it off.
âHow come the one who's followin' you's got no light?'
âDoesn't need it. That one's bad news, Dog. Your sentries give him a tumble, they'll come home in easy-to-carry sections.'
âThis afriendfriend, Moll?' He sounded uneasy. I heard his feet shift on the worn plywood.
âNo. But he's mine. And this one,' slapping my shoulders, âhe's a friend. Got that?'
âSure,' he said, without much enthusiasm, padding to the platform's edge, where the eyebolts were. He began to pluck out some kind of message on the taut cords.
Nighttown spread beneath us like a toy village for rats; tiny windows showed candlelight, with only a few harsh, bright squares lit by battery lanterns and carbide lamps. I imagined the old men at their endless games of dominoes, under warm, fat drops of water that fell from wet wash hung out on poles between the plywood shanties. Then I tried to imagine him climbing patiently up through the darkness in his zoris and ugly tourist shirt, bland and unhurried. How was he tracking us?
âGood,' said Molly. âHe smells us.'
âSmoke?' Dog dragged a crumpled pack from his pocket and prized out a flattened cigarette. I squinted at the trademark while he lit it for me with a kitchen match. Yiheyuan filters. Beijing Cigarette Factory. I decided that the Lo Teks were black marketeers. Dog and Molly wentback to their argument, which seemed to revolve around Molly's desire to use some particular piece of Lo Tek real estate.
âI've done you a lot of favors, man. I want that floor. And I want the music.'
âYou're not Lo Tekâ¦'
This must have been going on for the better part of a twisted kilometer, Dog leading us along swaying catwalks and up rope ladders. The Lo Teks leech their webs and huddling places to the city's fabric with thick gobs of epoxy and sleep above the abyss in mesh hammocks. Their country is so attenuated that in places it consists of little more than holds for hands and feet, sawed into geodesic struts.
The Killing Floor, she called it. Scrambling after her, my new Eddie Bax shoes slipping on worn metal and damp plywood, I wondered how it could be any more lethal than the rest of the territory. At the same time I sensed that Dog's protests were ritual and that she already expected to get whatever it was she wanted.
Somewhere beneath us, Jones would be circling his tank, feeling the first twinges of junk sickness. The police would be boring the Drome regulars with questions about Ralfi. What did he do? Who was he with before he stepped outside? And the Yakuza would be settling its ghostly bulk over the city's data banks, probing for faint images of me reflected in numbered accounts, securities transactions, bills for utilities. We're an information economy. They teach you that in school. What they don't tell you is that it's impossible to move, to live, to operate at any level without leaving traces, bits, seemingly meaningless fragments of personal information. Fragments that can be retrieved, amplifiedâ¦
But by now the pirate would have shuttled our messageinto line for blackbox transmissions to the Yakuza comsat. A simple message: Call off the dogs or we wideband your program.
The program. I had no idea what it contained. I still don't. I only sing the song, with zero comprehension. It was probably research data, the Yakuza being given to advanced forms of industrial espionage. A genteel business, stealing from Ono-Sendai as a matter of course and politely holding their data for ransom, threatening to blunt the conglomorate's research edge by making the product public.
But why couldn't any number play? Wouldn't they be happier with something to sell back to Ono-Sendai, happier than they'd be with one dead Johnny from Memory Lane?
Their program was on its way to an address in Sydney, to a place that held letters for clients and didn't ask questions once you'd paid a small retainer. Fourth-class surface mail. I'd erased most of the other copy and recorded our message in the resulting gap, leaving just enough of the program to identify it as the real thing.
My wrist hurt. I wanted to stop, to lie down, to sleep. I knew that I'd lose my grip and fall soon, knew that the sharp black shoes I'd bought for my evening as Eddie Bax would lose their purchase and carry me down to Nighttown. But he rose in my mind like a cheap religious hologram, glowing, the enlarged chip in his Hawaiian shirt looming like a reconnaissance shot of some doomed urban nucleus.
So I followed Dog and Molly through Lo Tek heaven, jury-rigged and jerry-built from scraps that even Nighttown didn't want.
The Killing Floor was eight meters on a side. A giant had threaded steel cable back and forth through a junkyardand drawn it all taut. It creaked when it moved, and it moved constantly, swaying and bucking as the gathering Lo Teks arranged themselves on the shelf of plywood surrounding it. The wood was silver with age, polished with long use and deeply etched with initials, threats, declarations of passion. This was suspended from a separate set of cables, which lost themselves in darkness beyond the raw white glare of the two ancient floods suspended above the Floor.
A girl with teeth like Dog's hit the Floor on all fours. Her breasts were tattooed with indigo spirals. Then she was across the Floor, laughing, grappling with a boy who was drinking dark liquid from a liter flask.
Lo Tek fashion ran to scars and tattoos. And teeth. The electricity they were tapping to light the Killing Floor seemed to be an exception to their overall aesthetic, made in the name ofâ¦ritual, sport, art? I didn't know, but I could see that the Floor was something special. It had the look of having been assembled over generations.
I held the useless shotgun under my jacket. Its hardness and heft were comforting, even though I had no more shells. And it came to me that I had no idea at all of what was really happening, or of what was supposed to happen. And that was the nature of my game, because I'd spent most of my life as a blind receptacle to be filled with other people's knowledge and then drained, spouting synthetic languages I'd never understand. A very technical boy. Sure.
And then I noticed just how quiet the Lo Teks had become.
He was there, at the edge of the light, taking in the Killing Floor and the gallery of silent Lo Teks with a tourist's calm. And as our eyes met for the first time with mutual recognition, a memory clicked into place for me,of Paris, and the long Mercedes electrics gliding through the rain to Notre Dame; mobile greenhouses, Japanese faces behind the glass, and a hundred Nikons rising in blind phototropism, flowers of steel and crystal. Behind his eyes, as they found me, those same shutters whirring.
I looked for Molly Millions, but she was gone.
The Lo Teks parted to let him step up on to the bench. He bowed, smiling, and stepped smoothly out of his sandals, leaving them side by side, perfectly aligned, and then he stepped down on to the Killing Floor. He came for me, across that shifting trampoline of scrap, as easily as any tourist padding across synthetic pile in any featureless hotel.
Molly hit the Floor, moving.
The Floor screamed.
It was miked and amplified, with pickups riding the four fat coil springs at the corners and contact mikes taped at random to rusting machine fragments. Somewhere the Lo Teks had an amp and a synthesizer, and now I made out the shapes of speakers overhead, above the cruel white floods.
A drumbeat began, electronic, like an amplified heart, steady as a metronome.
She'd removed her leather jacket and boots; her T-shirt was sleeveless, faint telltales of Chiba City circuitry traced along her thin arms. Her leather jeans gleamed under the floods. She began to dance.
She flexed her knees, white feet tensed on a flattened gas tank, and the Killing Floor began to heave in response. The sound it made was like a world ending, like the wires that hold heaven snapping and coiling across the sky.
He rode with it, for a few heartbeats, and then he moved, judging the movement of the Floor perfectly, likea man stepping from one flat stone to another in an ornamental garden.
He pulled the tip from his thumb with the grace of a man at ease with social gesture and flung it at her. Under the floods, the filament was a refracting thread of rainbow. She threw herself flat and rolled, jackknifing up as the molecule whipped past, steel claws snapping into the light in what must have been an automatic rictus of defense.
The drum pulse quickened, and she bounced with it, her dark hair wild around the blank silver lenses, her mouth thin, lips taut with concentration. The Killing Floor boomed and roared, and the Lo Teks were screaming their excitement.
He retracted the filament to a whirling meter-wide circle of ghostly polychrome and spun it in front of him, thumbless hand held level with his sternum. A shield.
And Molly seemed to let something go, something inside, and that was the real start of her mad-dog dance. She jumped, twisting, lunging sideways, landing with both feet on an alloy engine block wired directly to one of the coil springs. I cupped my hands over my ears and knelt in a vertigo of sound, thinking Floor and benches were on their way down, down to Nighttown, and I saw us tearing through the shanties, the wet wash, exploding on the tiles like rotten fruit. But the cables held, and the Killing Floor rose and fell like a crazy metal sea. And Molly danced on it.
And at the end, just before he made his final cast with the filament, I saw something in his face, an expression that didn't seem to belong there. It wasn't fear and it wasn't anger. I think it was disbelief, stunned incomprehension mingled with pure aesthetic revulsion at what he was seeing, hearing â at what was happening to him. Heretracted the whirling filament, the ghost disk shrinking to the size of a dinner plate as he whipped his arm above his head and brought it down, the thumbtip curving out for Molly like a live thing.
The Floor carried her down, the molecule passing just above her head; the Floor whiplashed, lifting him into the path of the taut molecule. It should have passed harmlessly over his head and been withdrawn into its diamond-hard socket. It took his hand off just behind the wrist. There was a gap in the Floor in front of him, and he went through it like a diver, with a strange deliberate grace, a defeated kamikaze on his way down to Nighttown. Partly, I think, he took that dive to buy himself a few seconds of the dignity of silence. She'd killed him with culture shock.
The Lo Teks roared, but someone shut the amplifier off, and Molly rode the Killing Floor into silence, hanging on now, her face white and blank, until the pitching slowed and there was only a faint pinging of tortured metal and the grating of rust on rust.
We searched the Floor for the severed hand, but we never found it. All we found was a graceful curve in one piece of rusted steel, where the molecule went through. Its edge was bright as new chrome.
We never learned whether the Yakuza had accepted our terms, or even whether they got our message. As far as I know, their program is still waiting for Eddie Bax on a shelf in the back room of a gift shop on the third level of Sydney Central-5. Probably they sold the original back to Ono-Sendai months ago. But maybe they did get the pirate's broadcast, because nobody's come looking for me yet, and it's been nearly a year. If they do come, they'll have a long climb up through the dark, past Dog's sentries, and I don't look much like Eddie Bax these days.I let Molly take care of that, with a local anesthetic. And my new teeth have almost grown in.
I decided to stay up here. When I looked out across the Killing Floor, before he came, I saw how hollow I was. And I knew I was sick of being a bucket. So now I climb down and visit Jones, almost every night.
We're partners now, Jones and I, and Molly Millions, too. Molly handles our business in the Drome. Jones is still in Funland, but he has a bigger tank, with fresh seawater trucked in once a week. And he has his junk, when he needs it. He still talks to the kids with his frame of lights, but he talks to me on a new display unit in a shed that I rent there, a better unit than the one he used in the navy.
And we're all making good money, better money than I made before, because Jones's Squid can read the traces of anything that anyone ever stored in me, and he gives it to me on the display unit in languages I can understand. So we're learning a lot about all my former clients. And one day I'll have a surgeon dig all the silicon out of my amygdalae, and I'll live with my own memories and nobody else's, the way other people do. But not for a while.
In the meantime it's really okay up here, way up in the dark, smoking a Chinese filtertip and listening to the condensation that drips from the geodesics. Real quiet up here â unless a pair of Lo Teks decide to dance on the Killing Floor.
It's educational, too. With Jones to help me figure things out, I'm getting to be the most technical boy in town.The Gernsback Continuum
Mercifully, the whole thing is starting to fade, to become an episode. When I do still catch the odd glimpse, it's peripheral; mere fragments of mad-doctor chrome, confining themselves to the corner of the eye. There was that flying-wing liner over San Francisco last week, but it was almost translucent. And the shark-fin roadsters have gotten scarcer, and freeways discreetly avoid unfolding themselves into the gleaming eighty-lane monsters I was forced to drive last month in my rented Toyota. And I know that none of it will follow me to New York; my vision is narrowing to a single wavelength of probability. I've worked hard for that. Television helped a lot.
I suppose it started in London, in that bogus Greek taverna in Battersea Park Road, with lunch on Cohen's corporate tab. Dead steam-table food and it took them thirty minutes to find an ice bucket for the retsina. Cohen works for Barris-Watford, who publish big, trendy âtrade' paperbacks: illustrated histories of the neon sign, the pinball machine, the windup toys of Occupied Japan. I'd gone over to shoot a series of shoe ads; California girls with tanned legs and frisky Day-Glo jogging shoes had capered for me down the escalators of St John's Wood and across the platforms of Tooting Bec. A lean and hungry young agency had decided that the mystery of London Transport would sell waffle-tread nylon runners. They decide; I shoot. And Cohen, whom I knew vaguely from the old days in New York, had invited me to lunch the day before I was due out of Heathrow. He broughtalong a very fashionably dressed young woman named Dialta Downes, who was virtually chinless and evidently a noted pop-art historian. In retrospect, I see her walking in beside Cohen under a floating neon sign that flashes THIS WAY LIES MADNESS in huge sans-serif capitals.
Cohen introduced us and explained that Dialta was the prime mover behind the latest Barris-Watford project, an illustrated history of what she called âAmerican Streamlined Moderne.' Cohen called it âraygun Gothic.' Their working title wasThe Airstream Futuropolis: The Tomorrow That Never Was.
There's a British obsession with the more baroque elements of American pop culture, something like the weird cowboys-and-Indians fetish of the West Germans or the aberrant French hunger for old Jerry Lewis films. In Dialta Downes this manifested itself in a mania for a uniquely American form of architecture that most Americans are scarcely aware of. At first I wasn't sure what she was talking about, but gradually it began to dawn on me. I found myself remembering Sunday morning television in the Fifties.
Sometimes they'd run old eroded newsreels as filler on the local station. You'd sit there with a peanut butter sandwich and a glass of milk, and a static-ridden Hollywood baritone would tell you that there was A Flying Car in Your Future. And three Detroit engineers would putter around with this big old Nash with wings, and you'd see it rumbling furiously down some deserted Michigan runway. You never actually saw it take off, but it flew away to Dialta Downe's never-never land, true home of a generation of completely uninhibited technophiles. She was talking about those odds and ends of âfuturistic' Thirties and Forties architecture you pass daily in American cities without noticing: the movie marquees ribbed to radiatesome mysterious energy, the dime stores faced with fluted aluminum, the chrome-tube chairs gathering dust in the lobbies of transient hotels. She saw these things as segments of a dreamworld, abandoned in the uncaring present; she wanted me to photograph them for her.
The Thirties had seen the first generation of American industrial designers; until the Thirties, all pencil sharpeners had looked like pencil sharpeners â your basic Victorian mechanism, perhaps with a curlicue of decorative trim. After the advent of the designers, some pencil sharpeners looked as though they'd been put together in wind tunnels. For the most part, the change was only skin-deep; under the streamlined chrome shell, you'd find the same Victorian mechanism. Which made a certain kind of sense, because the most successful American designers had been recruited from the ranks of Broadway theater designers. It was all a stage set, a series of elaborate props for playing at living in the future.
Over coffee, Cohen produced a fat manila envelope full of glossies. I saw the winged statues that guard the Hoover Dam, forty-foot concrete hood ornaments leaning steadfastly into an imaginary hurricane. I saw a dozen shots of Frank Lloyd Wright's Johnson's Wax Building, juxtaposed with the covers of oldAmazing Storiespulps, by an artist named Frank R. Paul; the employees of Johnson's Wax must have felt as though they were walking into one of Paul's spray-paint pulp Utopias. Wright's building looked as though it had been designed for people who wore white togas and Lucite sandals. I hesitated over one sketch of a particularly grandiose prop-driven airliner, all wing, like a fat symmetrical boomerang with windows in unlikely places. Labeled arrows indicated the locations of the grand ballroom and two squash courts. It was dated 1936.
âThis thing couldn't have flownâ¦?' I looked at Dialta Downes.
âOh, no, quite impossible, even with those twelve giant props; but they loved the look, don't you see? New York to London in less than two days, first-class dining rooms, private cabins, sun decks, dancing to jazz in the eveningâ¦The designers were populists, you see; they were trying to give the public what it wanted. What the public wanted was the future.'
I'd been in Burbank for three days, trying to suffuse a really dull-looking rocker with charisma, when I got the package from Cohen. It is possible to photograph what isn't there; it's damned hard to do, and consequently a very marketable talent. While I'm not bad at it, I'm not exactly the best, either, and this poor guy strained my Nikon's credibility. I got out, depressed because I do like to do a good job, but not totally depressed, because I did make sure I'd gotten the check for the job, and I decided to restore myself with the sublime artiness of the Barris-Watford assignment. Cohen had sent me some books on Thirties design, more photos of streamlined buildings, and a list of Dialta Downes's fifty favorite examples of the style in California.
Architectural photography can involve a lot of waiting; the building becomes a kind of sundial, while you wait for a shadow to crawl away from a detail you want, or for the mass and balance of the structure to reveal itself in a certain way. While I was waiting. I thought myself into Dialta Downes's America. When I isolated a few of the factory buildings on the ground glass of the Hasselblad, they came across with a kind of sinister totalitarian dignity, like the stadiums Albert Speer built for Hitler. But the rest of it was relentlessly tacky: ephemeral stuffextruded by the collective American subconscious of the Thirties, tending mostly to survive along depressing strips lined with dusty motels, mattress wholesalers, and small used-car lots. I went for the gas stations in a big way.
During the high point of the Downes Age, they put Ming the Merciless in charge of designing California gas stations. Favoring the architecture of his native Mongo, he cruised up and down the coast erecting raygun emplacements in white stucco. Lots of them featured superfluous central towers ringed with those strange radiator flanges that were a signature motif of the style, and made them look as though they might generate potent bursts of raw technological enthusiasm, if you could only find the switch that turned them on. I shot one in San Jose an hour before the bulldozers arrived and drove right through the structural truth of plaster and lathing and cheap concrete.
âThink of it,' Dialta Downes had said, âas a kind of alternate America: a 1980 that never happened. An architecture of broken dreams.'
And that was my frame of mind as I made the stations of her convoluted socioarchitectural cross in my red Toyota â as I gradually tuned in to her image of a shadowy America-that-wasn't, of Coca-Cola plants like beached submarines, and fifth-run movie houses like the temples of some lost sect that had worshiped blue mirrors and geometry. And as I moved among these secret ruins, I found myself wondering what the inhabitants of that lost future would think of the world I lived in. The Thirties dreamed white marble and slipstream chrome, immortal crystal and burnished bronze, but the rockets on the covers of the Gernsback pulps had fallen on London in the dead of night, screaming. After the war, everyone had a car â no wings for it â and the promised superhighwayto drive it down, so that the sky itself darkened, and the fumes ate the marble and pitted the miracle crystalâ¦
And one day, on the outskirts of Bolinas, when I was setting up to shoot a particularly lavish example of Ming's martial architecture, I penetrated a fine membrane, a membrane of probabilityâ¦
Ever so gently, I went over the Edge â
And looked up to see a twelve-engined thing like a bloated boomerang, all wing, thrumming its way east with an elephantine grace, so low that I could count the rivets in its dull silver skin, and hear â maybe â the echo of jazz.
I took it to Kihn.
Merv Kihn, a free-lance jounalist with an extensive line in Texas pterodactyls, redneck UFO contactees, bush-league Loch Ness monsters, and the Top Ten conspiracy theories in the loonier reaches of the American mass mind.
âIt's good,' said Kihn, polishing his yellow Polaroid shooting glasses on the hem of his Hawaiian shirt, âbut it's notmental;lacks the true quill.'
âBut I saw it Mervyn.' We were seated poolside in brilliant Arizona sunlight. He was in Tucson waiting for a group of retired Las Vegas civil servants whose leader received messages from Them on her microwave oven. I'd driven all night and was feeling it.
âOf course you did. Of course you saw it. You've read my stuff; haven't you grasped my blanket solution to the UFO problem? It's simple, plain and country simple: people' â he settled the glasses carefully on his long hawk nose and fixed me with his best basilisk glare ââseeâ¦things. People see these things. Nothing's there, but peopleseethem anyway. Because they need to, probably.You've read Jung, you should know the scoreâ¦In your case, it's so obvious: You admit you were thinking about this crackpot architecture, having fantasiesâ¦Look, I'm sure you've taken your share of drugs, right? How many people survived the Sixties in California without having the odd hallucination? All those nights when you discovered that whole armies of Disney technicians had been employed to weave animated holograms of Egyptian hieroglyphs into the fabric of your jeans, say, or the times when â'
âBut it wasn't like that.'
âOf course not. It wasn't like that at all; it was “in a setting of clear reality,” right? Everything normal, and then there's the monster, the mandala, the neon cigar. In your case, a giant Tom Swift airplane. It happensall the time. You aren't even crazy. You know that, don't you?' He fished a beer out of the battered foam cooler beside his deck chair.
âLast week I was in Virginia. Grayson County. I interviewed a sixteen-year-old girl who'd been assaulted by abar hade.'
âA bear head. The severed head of a bear. Thisbar hade,see, was floating around on its own little flying saucer, looked kind of like the hubcaps on cousin Wayne's vintage Caddy. Had red, glowing eyes like two cigar stubs and telescoping chrome antennas poking up behind its ears.' He burped.
âIt assaulted her? How?'
âYou don't want to know; you're obviously impressionable. “It was cold”' â he lapsed into his bad southern accent â â“and metallic.” It made electronic noises. Now that is the real thing, the straight goods from the mass unconscious, friend; that little girl is a witch. There's justno place for her to function in this society. She'd have seen the devil, if she hadn't been brought up on “The Bionic Man” and all those “Star Trek” reruns. She is clued into the main vein. And she knows that it happened to her. I got out ten minutes before the heavy UFO boys showed up with the polygraph.'
I must have looked pained, because he set his beer down carefully beside the cooler and sat up.
âIf you want a classier explanation, I'd say you saw a semiotic ghost. All these contactee stories, for instance, are framed in a kind of sci-fi imagery that permeates our culture. I could buy aliens, but not aliens that look like Fifties' comic art. They're semiotic phantoms, bits of deep cultural imagery that have split off and taken on a life of their own, like the Jules Verne airships that those old Kansas farmers were always seeing. But you saw a different kind of ghost, that's all. That plane was part of the mass unconscious, once. You picked up on that, somehow. The important thing is not to worry about it.'
I did worry about it, though.
Kihn combed his thinning blond hair and went off to hear what They had had to say over the radar range lately, and I drew the curtains in my room and lay down in air-conditioned darkness to worry about it. I was still worrying about it when I woke up. Kihn had left a note on my door; he was flying up north in a chartered plane to check out a cattle-mutilation rumor (âmuties,' he called them; another of his journalistic specialties).
I had a meal, showered, took a crumbling diet pill that had been kicking around in the bottom of my shaving kit for three years, and headed back to Los Angeles.
The speed limited my vision to the tunnel of the Toyota's headlights. The body could drive, I told myself, while the mind maintained. Maintained and stayed awayfrom the weird peripheral window dressing of amphetamine and exhaustion, the spectral, luminous vegetation that grows out of the corners of the mind's eye along late-night highways. But the mind had its own ideas, and Kihn's opinion of what I was already thinking of as my âsighting' rattled endlessly through my head in a tight, lopsided orbit. Semiotic ghosts. Fragments of the Mass Dream, whirling past in the wind of my passage. Somehow this feedback-loop aggravated the diet pill, and the speed-vegetation along the road began to assume the colors of infrared satellite images, glowing shreds blown apart in the Toyota's slipstream.
I pulled over, then, and a half-dozen aluminium beer cans winked goodnight as I killed the headlights. I wondered what time it was in London, and tried to imagine Dialta Downes having breakfast in her Hampstead flat, surrounded by streamlined chrome figurines and books on American culture.
Desert nights in that country are enormous; the moon is closer. I watched the moon for a long time and decided that Kihn was right. The main thing was not to worry. All across the continent, daily, people who were more normal than I'd ever aspired to be saw giant birds, Bigfeet, flying oil refineries; they kept Kihn busy and solvent. Why should I be upset by a glimpse of the 1930s pop imagination loose over Bolinas? I decided to go to sleep, with nothing worse to worry about than rattlesnakes and cannibal hippies, safe amid the friendly roadside garbage of my own familiar continuum. In the morning I'd drive down to Nogales and photograph the old brothels, something I'd intended to do for years. The diet pill had given up.
The light woke me, and then the voices.
The light came from somewhere behind me and threwshifting shadows inside the car. The voices were calm, indistinct, male and female, engaged in conversation.
My neck was stiff and my eyeballs felt gritty in their sockets. My leg had gone to sleep, pressed against the steering wheel. I fumbled for my glasses in the pocket of my work shirt and finally got them on.
Then I looked behind me and saw the city.
The books on Thirties design were in the trunk; one of them contained sketches of an idealized city that drew onMetropolisandThings to Come,but squared everything, soaring up through an architect's perfect clouds to zeppelin docks and mad neon spires. That city was a scale model of the one that rose behind me. Spire stood on spire in gleaming ziggurat steps that climbed to a central golden temple tower ringed with the crazy radiator flanges of the Mongo gas stations. You could hide the Empire State Building in the smallest of those towers. Roads of crystal soared between the spires, crossed and recrossed by smooth silver shapes like beads of running mercury. The air was thick with ships: giant wing-liners, little darting silver things (sometimes one of the quicksilver shapes from the sky bridges rose gracefully into the air and flew up to join the dance), mile-long blimps, hovering dragonfly things that were gyrocoptersâ¦
I closed my eyes tight and swung around in the seat. When I opened them, I willed myself to see the mileage meter, the pale road dust on the black plastic dashboard, the overflowing ashtray.
âAmphetamine psychosis,' I said. I opened my eyes. The dash was still there, the dust, the crushed filtertips. Very carefully, without moving my head, I turned the headlights on.
And saw them.
They were blond. They were standing beside their car,an aluminum avocado with a central shark-fin rudder jutting up from its spine and smooth black tires like a child's toy. He had his arm around her waist and was gesturing toward the city. They were both in white: loose clothing, bare legs, spotless white sun shoes. Neither of them seemed aware of the beams of my headlights. He was saying something wise and strong, and she was nodding, and suddenly I was frightened, frightened in an entirely different way. Sanity had ceased to be an issue; I knew somehow, that the city behind me was Tucson â a dream Tucson thrown up out of the collective yearning of an era. That it was real, entirely real. But the couple in front of me lived in it, and they frightened me.
They were the children of Dialta Downes's '80-that-wasn't; they were Heirs to the Dream. They were white, blond, and they probably had blue eyes. They were American. Dialta had said that the Future had come to America first, but had finally passed it by. But not here, in the heart of the Dream. Here, we'd gone on and on, in a dream logic that knew nothing of pollution, the finite bounds of fossil fuel, or foreign wars it was possible to lose. They were smug, happy, and utterly content with themselves and their world. And in the Dream, it wastheirworld.
Behind me, the illuminated city: Searchlights swept the sky for the sheer joy of it. I imagined them thronging the plazas of white marble, orderly and alert, their bright eyes shining with enthusiasm for their floodlit avenues and silver cars.
It had all the sinister fruitiness of Hitler Youth propaganda.
I put the car in gear and drove forward slowly, until the bumper was within three feet of them. They still hadn't seen me. I rolled the window down and listened to whatthe man was saying. His words were bright and hollow as the pitch in some Chamber of Commerce brochure, and I knew that he believed in them absolutely.
âJohn,' I heard the woman say, âwe've forgotten to take our food pills.' She clicked two bright wafers from a thing on her belt and passed one to him. I backed onto the highway and headed for Los Angeles, wincing and shaking my head.
I phoned Kihn from a gas station. A new one, in bad Spanish Modern. He was back from his expedition and didn't seem to mind the call.
âYeah, that is a weird one. Did you try to get any pictures? Not that they ever come out, but it adds an interestingfrissonto your story, not having the pictures turn outâ¦'
But what should I do?
âWatch lots of television, particularly game shows and soaps. Go to porn movies. Ever seeNazi Love Motel?They've got it on cable, here. Really awful. Just what you need.'
What was he talking about?
âQuit yelling and listen to me. I'm letting you in on a trade secret: Really bad media can exorcise your semiotic ghosts. If it keeps the saucer people off my back, it can keep these Art Deco futuroids off yours. Try it. What have you got to lose?'
Then he begged off, pleading an early-morning date with the Elect.
âThese oldsters from Vegas; the ones with the microwaves.'
I considered putting a collect call through to London, getting Cohen at Barris-Watford and telling him hisphotographer was checking out for a protracted season in the Twilight Zone. In the end, I let a machine mix me a really impossible cup of black coffee and climbed back into the Toyota for the haul to Los Angeles.
Los Angeles was a bad idea, and I spent two weeks there. It was prime Downes country; too much of the Dream there, and too many fragments of the Dream waiting to snare me. I nearly wrecked the car on a stretch of overpass near Disneyland, when the road fanned out like an origami trick and left me swerving through a dozen minilanes of whizzing chrome teardrops with shark fins. Even worse, Hollywood was full of people who looked too much like the couple I'd seen in Arizona. I hired an Italian director who was making ends meet doing darkroom work and installing patio decks around swimming pools until his ship came in; he made prints of all the negatives I'd accumulated on the Downes job. I didn't want to look at the stuff myself. It didn't seem to bother Leonardo, though, and when he was finished I checked the prints, riffling through them like a deck of cards, sealed them up, and sent them air freight to London. Then I took a taxi to a theater that was showingNazi Love Motel,and kept my eyes shut all the way.
Cohen's congratulatory wire was forwarded to me in San Francisco a week later. Dialta had loved the pictures. He admired the way I'd âreally gotten into it,' and looked forward to working with me again. That afternoon I spotted a flying wing over Castro Street, but there was something tenuous about it, as though it were only half there. I rushed into the nearest newstand and gathered up as much as I could find on the petroleum crisis and the nuclear energy hazard. I'd just decided to buy a plane ticket for New York.
âHell of a world we live in, huh?' The proprietor was athin black man with bad teeth and an obvious wig. I nodded, fishing in my jeans for change, anxious to find a park bench where I could submerge myself in hard evidence of the human near-dystopia we live in. âBut it could be worse, huh?'
âThat's right,' I said, âor even worse, it could be perfect.'
He watched me as I headed down the street with my little bundle of condensed catastrophe.Fragments of a Hologram Rose
That summer Parker had trouble sleeping.
There were power droughts; sudden failures of the delta-inducer brought painfully abrupt returns to consciousness.
To avoid these, he used patch cords, miniature alligator clips, and black tape to wire the inducer to a battery-operated ASP deck. Power loss in the inducer would trigger the deck's playback circuit.
He bought an ASP cassette that began with the subject asleep on a quiet beach. It had been recorded by a young blonde yogi with 20-20 vision and an abnormally acute color sense. The boy had been flown to Barbados for the sole purpose of taking a nap and his morning's exercise on a brilliant stretch of private beach. The microfiche laminate in the cassette's transparent case explained that the yogi could will himself through alpha to delta without an inducer. Parker, who hadn't been able to sleep without an inducer for two years, wondered if this was possible.
He had been able to sit through the whole thing only once, though by now he knew every sensation of the first five subjective minutes. He thought the most interesting part of the sequence was a slight editing slip at the start of the elaborate breathing routine: a swift glance down the white beach that picked out the figure of a guard patrolling a chain link fence, a black machine pistol slung over his arm.
While Parker slept, power drained from the city's grids.
The transition from delta to delta-ASP was a darkimplosion into other flesh. Familiarity cushioned the shock. He felt the cool sand under his shoulders. The cuffs of his tattered jeans flapped against his bare ankles in the morning breeze. Soon the boy would wake fully and begin his Ardha-Matsyendra-something; with other hands Parker groped in darkness for the ASP deck.
Three in the morning. Making yourself a cup of coffee in the dark, using a flashlight when you pour the boiling water.
Morning's recorded dream, fading: through other eyes, dark plume of a Cuban freighter â fading with the horizon it navigates across the mind's gray screen.
Three in the morning.
Let yesterday arrange itself around you in flat schematic images. What you said â what she said â watching her pack â dialing the cab. However you shuffle them they form the same printed circuit, hieroglyphs converging on a central component: you, standing in the rain, screaming at the cabby.
The rain was sour and acid, nearly the color of piss. The cabby called you an asshole; you still had to pay twice the fare. She had three pieces of luggage. In his respirator and goggles, the man looked like an ant. He pedaled away in the rain. She didn't look back.
The last you saw of her was a giant ant, giving you the finger.
Parker saw his first ASP unit in a Texas shantytown called Judy's Jungle. It was a massive console in cheap plastic chrome. A ten-dollar bill fed into the slot bought you five minutes of free-fall gymnastics in a Swiss orbital spa, trampolining through twenty-meter perihelions with a sixteen-year-oldVoguemodel â heady stuff for the Jungle,where it was simpler to buy a gun than a hot bath.
He was in New York with forged papers a year later, when two leading firms had the first portable decks in major department stores in time for Christmas. The ASP porn theaters that had boomed briefly in California never recovered.
Holography went too, and the block-wide Fuller domes that had been the holo temples of Parker's childhood became multilevel supermarkets, or housed dusty amusement arcades where you still might find the old consoles, under faded neon pulsing APPARENT SENSORY PERCEPTION through a blue haze of cigarette smoke.
Now Parker is thirty and writes continuity for broadcast ASP, programming the eye movements of the industry's human cameras.
The brown-out continues.
In the bedroom, Parker prods the brushed-aluminum face of his Sendai Sleep-Master. Its pilot light flickers, then lapses into darkness. Coffee in hand, he crosses the carpet to the closet she emptied the day before. The flashlight's beam probes the bare shelves for evidence of love, finding a broken leather sandal strap, an ASP cassette, and a postcard. The postcard is a white light reflection hologram of a rose.
At the kitchen sink, he feeds the sandal strap to the disposal unit. Sluggish in the brown-out, it complains, but swallows and digests. Holding it carefully between thumb and forefinger, he lowers the hologram toward the hidden rotating jaws. The unit emits a thin scream as steel teeth slash laminated plastic and the rose is shredded into a thousand fragments.
Later he sits on the unmade bed, smoking. Her cassette is in the deck ready for playback. Some women's tapesdisorient him, but he doubts this is the reason he now hesitates to start the machine.
Roughly a quarter of all ASP users are unable to comfortably assimilate the subjective body picture of the opposite sex. Over the years some broadcast ASP stars have become increasingly androgynous in an attempt to capture this segment of the audience.
But Angela's own tapes have never intimidated him before. (But what if she has recorded a lover?) No, that can't be it â it's simply that the cassette is an entirely unknown quantity.
When Parker was fifteen, his parents indentured him to the American subsidiary of a Japanese plastics combine. At the time, he felt fortunate; the ratio of applicants to indentured trainees was enormous. For three years he lived with his cadre in a dormitory, singing the company hymns in formation each morning and usually managing to go over the compound fence at least once a month for girls or the holodrome.
The indenture would have terminated on his twentieth birthday, leaving him eligible for full employee status. A week before his nineteenth birthday, with two stolen credit cards and a change of clothes, he went over the fence for the last time. He arrived in California three days before the chaotic New Secessionist regime collapsed. In San Francisco, warring splinter groups hit and ran in the streets. One or another of four different âprovisional' city governments had done such an efficient job of stockpiling food that almost none was available at street level.
Parker spent the last night of the revolution in a burned-out Tucson suburb, making love to a thin teenager from New Jersey who explained the finer points of her horoscope between bouts of almost silent weeping that seemedto have nothing at ail to do with anything he did or said. Years later he realized that he no longer had any idea of his original motive in breaking his indenture.
The first three quarters of the cassette had been erased; you punch yourself fast-forward through a static haze of wiped tape, where taste and scent blur into a single channel. The audio input is white sound â the no-sound of the first dark seaâ¦(Prolonged input from wiped tape can induce hypnagogic hallucination.)
Parker crouched in the roadside New Mexico brush at midnight, watching a tank burn on the highway. Flame lit the broken white line he had followed from Tucson. The explosion had been visible two miles away, a white sheet of heat lightning that had turned the pale branches of a bare tree against the night sky into a photographic negative of themselves: carbon branches against magnesium sky.
Many of the refugees were armed.
Texas owed the shantytowns that steamed in the warm Gulf rains to the uneasy neutrality she had maintained in the face of the Coast's attempted secession.
The towns were built of plywood, cardboard, plastic sheets that billowed in the wind, and the bodies of dead vehicles. They had names like Jump City and Sugaree, and loosely defined governments and territories that shifted constantly in the covert winds of a black-market economy.
Federal and state troops sent in to sweep the outlaw towns seldom found anything. But after each search, a few men would fail to report back. Some had sold their weapons and burned their uniforms, and others had come too close to the contraband they had been sent to find.
After three months, Parker wanted out, but goods were the only safe passage through the army cordons. His chance came only by accident: Late one afternon, skirting the pall of greasy cooking smoke that hung low over the Jungle, he stumbled and nearly fell on the body of a woman in a dry creek bed. Flies rose up in an angry cloud, then settled again, ignoring him. She had a leather jacket, and at night Parker was usually cold. He began to search the creek bed for a length of brushwood.
In the jacket's back, just below her left shoulder blade, was a round hole that would have admitted the shaft of a pencil. The jacket's lining had been red once, but now it was black, stiff and shining with dried blood. With the jacket swaying on the end of his stick, he went looking for water.
He never washed the jacket; in its left pocket he found nearly an ounce of cocaine, carefully wrapped in plastic and transparent surgical tape. The right pocket held fifteen ampules of Megacillin-D and a ten-inch horn-handled switchblade. The antibiotic was worth twice its weight in cocaine.
He drove the knife hilt-deep into a rotten stump passed over by the Jungle's wood-gatherers and hung the jacket there, the flies circling it as he walked away.
That night, in a bar with a corrugated iron roof, waiting for one of the âlawyers' who worked passages through the cordon, he tried his first ASP machine. It was huge, all chrome and neon, and the owner was very proud of it; he had helped hijack the truck himself.
If the chaos of the nineties reflects a radical shift in the paradigms of visual literacy, the final shift away from the Lascaux/Gutenberg tradition of a pre-holographic society, what should we expect from this newer technology, with its promise of discrete encoding and subsequent reconstruction of the full range of sensory perception?
â Rosebuck and Pierhal,Recent American History: A Systems View.
Fast-forward through the humming no-time of wiped tape â into her body. European sunlight. Streets of a strange city.
Athens. Greek-letter signs and the smell of dustâ¦
âand the smell of dust.
Look through her eyes (thinking, this woman hasn't met you yet; you're hardly out of Texas) at the gray monument, horses there in stone, where pigeons whirl up and circle â
â and static takes love's body, wipes it clean and gray. Waves of white sound break along a beach that isn't there. And the tape ends.
The inducer's light is burning now.
Parker lies in darkness, recalling the thousand fragments of the hologram rose. A hologram has this quality: Recovered and illuminated, each fragment will reveal the whole image of the rose. Falling toward delta, he sees himself the rose, each of his scattered fragments revealing a whole he'll never know â stolen credit cards â a burned out suburb â planetary conjunctions of a stranger â a tank burning on a highway âa flat packet of drugs âa switchblade honed on concrete, thin as pain.
Thinking: We're each other's fragments, and was it always this way? That instant of a European trip, deserted in the gray sea of wiped tape â is she closer now, or more real, for his having been there?
She had helped him get his papers, found him his first job in ASP. Was that their history? No, history was theblack face of the delta-inducer, the empty closet, and the unmade bed. History was his loathing for the perfect body he woke in if the juice dropped, his fury at the pedal-cab driver, and her refusal to look back through the contaminated rain.
But each fragment reveals the rose from a different angle, he remembered, but delta swept over him before he could ask himself what that might mean.
It might have been in Club Justine, or Jimbo's, or Sad Jack's, or the Rafters; Coretti could never be sure where he'd first seen her. At any time, she might have been in any one of those bars. She swam through the submarine half-life of bottles and glassware and the slow swirl of cigarette smokeâ¦she moved through her natural element, one bar after another.
Now, Coretti remembered their first meeting as if he saw it through the wrong end of a powerful telescope, small and clear and very far away.
He had noticed her first in the Backdoor Lounge. It was called the Backdoor because you entered through a narrow back alley. The alley's walls crawled with graffiti, its caged lights ticked with moths. Flakes from its white-painted bricks crunched underfoot. And then you pushed through into a dim space inhabited by a faintly confusing sense of the half-dozen other bars that had tried and failed in the same room under different managements. Coretti sometimes went there because he liked the weary smile of the black bartender, and because the few customers rarely tried to get chummy.
He wasn't very good at conversation with strangers, not at parties and not in bars.
He was fine at the community college where he lectured in introductory linguistics; he could talk with the head of his department about sequencing and options in conversational openings. But he could never talk to strangers inbars or at parties. He didn't go to many parties. He went to a lot of bars.
Coretti didn't know how to dress. Clothing was a language and Coretti a kind of sartorial stutterer, unable to make the kind of basic coherent fashion statement that would put strangers at their ease. His ex-wife told him he dressed like a Martian; that he didn't look as though he belonged anywhere in the city. He hadn't liked her saying that, because it was true.
He hadn't ever had a girl like the one who sat with her back arched slightly in the undersea light that splashed along the bar in the Backdoor. The same light was screwed into the lenses of the bartender's glasses, wound into the necks of the rows of bottles, splashed dully across the mirror. In that light her dress was the green of young corn, like a husk stripped away, showing back and cleavage and lots of thigh through the slits up the side. Her hair was coppery that night. And, that night, her eyes were green.
He pushed resolutely between the empty chrome-and-Formica tables until he reached the bar, where he ordered a straight bourbon. He took off his duffle coat, and wound up holding it on his lap when he sat down one stool away from her. Great, he screamed to himself, she'll think you're hiding an erection. And he was startled to realize that he had one to hide. He studied himself in the mirror behind the bar, a thirtyish man with thinning dark hair and a pale, narrow face on a long neck, too long for the open collar of the nylon shirt printed with engravings of 1910 automobiles in three vivid colors. He wore a tie with broad maroon and black diagonals, too narrow, he supposed, for what he now saw as the grotesquely long points of his collar. Or it was the wrong color. Something.
Beside him, in the dark clarity of the mirror, the green-eyedwoman looked like Irma La Douce. But looking closer, studying her face, he shivered. A face like an animal's. A beautiful face, but simple, cunning, two-dimensional. When she senses you're looking at her, Coretti thought, she'll give you the smile, disdainful amusement â or whatever you'd expect.
Coretti blurted, âMay I, um, buy you a drink?'
At moments like these, Coretti was possessed by an agonizingly stiff, schoolmasterish linguistic tic.Um. He winced.Um.
âYou would, um, like to buy me a drink? Why, how kind of you,' she said, astonishing him. âThat would be very nice.' Distantly, he noticed that her reply was as stilted and insecure at his own. She added, âA Tom Collins, on this occasion, would be lovely.'
On this occasion? Lovely? Rattled, Coretti ordered two drinks and paid.
A big woman in jeans and an embroidered cowboy shirt bellied up to the bar beside him and asked the bartender for change. âWell, hey,' she said. Then she strutted to the jukebox and punched for Conway and Loretta's âYou're the Reason Our Kids Are Ugly.' Coretti turned to the woman in green, and mumured haltingly:
âDo you enjoy country-and-western music?'Do you enjoyâ¦? He groaned secretly at his phrasing, and tried to smile.
âYes indeed,' she answered, the faintest twang edging her voice, âI sure do.'
The cowgirl sat down beside him and asked her, winking, âThis li'l terror here givin' you a hard time?'
And the animal-eyed lady in green replied, âOh, hell no, honey, I got my eye on 'im.' And laughed. Just the right amount of laugh. The part of Coretti that was dialectologist stirred uneasily; too perfect a shift in phrasingand inflection. An actress? A talented mimic? The wordmimeticrose suddenly in his mind, but he pushed it aside to study her reflection in the mirror; the rows of bottles occluded her breasts like a gown of glass.
âThe name's Coretti,' he said, his verbal poltergeist shifting abruptly to a totally unconvincing tough-guy mode, âMichael Coretti.'
âA pleasure,' she said, too softly for the other woman to hear, and again she had slipped into the lame parody of Emily Post.
âConway and Loretta,' said the cowgirl, to no one in particular.
âAntoinette,' said the woman in green, and inclined her head. She finished her drink, pretended to glance at a watch, said thank-you-for-the-drink too damn politely, and left.
Ten minutes later Coretti was following her down Third Avenue. He had never followed anyone in his life and it both frightened and excited him. Forty feet seemed a discreet distance, but what should he do if she happened to glance over her shoulder?
Third Avenue isn't a dark street, and it was there, in the light of a streetlamp, like a stage light, that she began to change. The street was deserted.
She was crossing the street. She stepped off the curb and it began. It began with tints in her hair â at first he thought they were reflections. But there was no neon there to cast the blobs of color that appeared, color sliding and merging like oil slicks. Then the colors bled away and in three seconds she was white-blond. He was sure it was a trick of the light until her dress began to writhe, twisting across her body like a shrink-wrap plastic. Part of it fell away entirely and lay in curling shreds on the pavement, shed like the skin of some fabulous animal. When Corettipassed, it was green foam, fizzing, dissolving, gone. He looked back up at her and the dress was another dress, green satin, shifting with reflections. Her shoes had changed too. Her shoulders were bare except for thin straps that crossed at the small of her back. Her hair had become short, spiky.
He found that he was leaning against a jeweler's plate-glass window, his breath coming ragged and harsh with the damp of the autumn evening. He heard the disco's heartbeat from two blocks away. As she neared it, her movements began subtly to take on a new rhythm â a shift in emphasis in the sway of her hips, in the way she put her heels down on the sidewalk. The doorman let her pass with a vague nod. He stopped Coretti and stared at his driver's license and frowned at his duffle coat. Coretti anxiously scanned the wash of lights at the top of a milky plastic stairway beyond the doorman. She had vanished there, into robotic flashing and redundant thunder.
Grudgingly the man let him pass, and he pounded up the stairs, his haste disturbing the lights beneath the translucent plastic steps.
Coretti had never been in a disco before; he found himself in an environment designed for complete satisfaction-in-distraction. He waded nervously through the motion and the fashions and the mechanical urban chants booming from the huge speakers. He sought her almost blindly on the pose-clotted dance floor, amid strobe lighting.
And found her at the bar, drinking a tall, lurid cooler and listening to a young man who wore a loose shirt of pale silk and very tight black pants. She nodded at what Coretti took to be appropriate intervals. Coretti ordered by pointing to a bottle of bourbon. She drank five of thetall drinks and then followed the young man to the dance floor.
She moved in perfect accord with the music, striking a series of poses; she went through the entire prescribed sequence gracefully but not artfully, fitting in perfectly. Always, always fitting in perfectly. Her companion danced mechanically, moving through the ritual with effort.
When the dance ended, she turned abruptly and dived into the thick of the crowd. The shifting throng closed about her like something molten.
Coretti plunged in after her, his eyes never leaving her â and he was the only one to follow her change. By the time she reached the stair, she was auburn-haired and wore a long blue dress. A white flower blossomed in her hair, behind her right ear; her hair was longer and straighter now. Her breasts had become slightly larger, and her hips a shade heavier. She took the stairs two at a time, and he was afraid for her then. All those drinks.
But the alcohol seemed to have no effect on her at all.
Never taking his eyes from her, Coretti followed, his heartbeat outspeeding the disco-throb at his back, sure that at any moment she would turn, glare at him, call for help.
Two blocks down Third she turned in at Lothario's. There was something different in her step now. Lothario's was a quiet complex of rooms hung with ferns and Art Deco mirrors. There were fake Tiffany lamps hanging from the ceiling, alternating with wooden-bladed fans that rotated too slowly to stir the wisps of smoke drifting through the consciously mellow drone of conversation. After the disco, Lothario's was familiar and comforting. A jazz pianist in pinstriped shirt sleeves and looselyknotted tie competed softly with talk and laughter from a dozen tables.
She was at the bar; the stools were only half taken, but Coretti chose a wall table, in the shadow of a miniature palm, and ordered bourbon.
He drank the bourbon and ordered another. He couldn't feel the alcohol much tonight.
She sat beside a young man, yet another young man with the usual set of bland, regular features. He wore a yellow golf shirt and pressed jeans. Her hip was touching his, just a little. They didn't seem to be speaking, but Coretti felt they were somehow communing. They were leaning toward one another slightly, silent. Coretti felt odd. He went to the rest room and splashed his face with water. Coming back, he managed to pass within three feet of them. Their lips didn't move till he was within earshot.
They took turns murmuring realistic palaver:
ââ¦saw his earlier films, but â'
âBut he's rather self-indulgent, don't you think?'
âSure, but in the sense thatâ¦'
And for the first time, Coretti knew what they were, what they must be. They were the kind you see in bars who seem to have grown there, who seem genuinely at home there. Not drunks, but human fixtures. Functions of the bar. The belonging kind.
Something in him yearned for a confrontation. He reached his table, but found himself unable to sit down. He turned, took a deep breath, and walked woodenly toward the bar. He wanted to tap her on her smooth shoulder and ask who she was, and exactly what she was, and point out the cold irony of the fact that it was he, Coretti, the Martian dresser, the eavesdropper, the outsider,the one whose clothes and conversation never fit, who had at last guessed their secret. But his nerve broke and he merely took a seat beside her and ordered bourbon. âBut don't you think,' she asked her companion, âthat it's all relative?'
The two seats beyond her companion were quickly taken by a couple who were talking politics. Antoinette and Golf Shirt took up the political theme seamlessly, recycling, speaking just loudly enough to be overheard. Her face, as she spoke, was expressionless. A bird trilling on a limb.
She sat so easily on her stool, as if it were a nest. Golf Shirt paid for the drinks. He always had the exact change, unless he wanted to leave a tip. Coretti watched them work their way methodically through six cocktails each, like insects feeding on nectar. But their voices never grew louder, their cheeks didn't redden, and when at last they stood, they moved without a trace of drunkenness âa weakness, thought Coretti, a gap in their camouflage.
They paid him absolutely no attention while he followed them through three successive bars.
As they entered Waylon's, they metamorphosed so quickly that Coretti had trouble following the stages of the change. It was one of those places wth toilet doors marked Pointers and Setters, and a little imitation pine plaque over the jars of beef jerky and pickled sausages:We've got a deal with the bank. They don't serve beer and we don't cash checks.
She was plump in Waylon's, and there were dark hollows under her eyes. There were coffee stains on her polyester pantsuit. Her companion wore jeans, a T-shirt, and a red baseball cap with a red-and-white Peterbilt patch. Coretti risked losing them when he spent a franticminute in âPointers,' blinking in confusion at a hand-lettered cardboard sign that said, Weaim to please âYou aim too, please.
Third Avenue lost itself near the waterfront in a petrified snarl of brickwork. In the last block, bright vomit marked the pavement at intervals, and old men dozed in front of black-and-white TVs, sealed forever behind the fogged plate glass of faded hotels.
The bar they found there had no name. An ace of diamonds was gradually flaking away on the unwashed window, and the bartender had a face like a closed fist. An FM transistor in ivory plastic keened easy-listening rock to the uneven ranks of deserted tables. They drank beer and shots. They were old now, two ciphers who drank and smoked in the light of bare bulbs, coughing over a pack of crumpled Camels she produced from the pocket of a dirty tan raincoat.
At 2.25 they were in the rooftop lounge of the new hotel complex that rose above the waterfront. She wore an evening dress and he wore a dark suit. They drank cognac and pretended to admire the city lights. They each had three cognacs while Coretti watched them over two ounces of Wild Turkey in a Waterford crystal highball glass.
They drank until last call. Coretti followed them into the elevator. They smiled politely but otherwise ignored him. There were two cabs in front of the hotel; they took one, Coretti the other.
âFollow that cab,' said Coretti huskily, thrusting his last twenty at the aging hippie driver.
âSure, man, sureâ¦' The driver dogged the other cab for six blocks, to another, more modest hotel. They got out and went in. Coretti slowly climbed out of his cab, breathing hard.
He ached with jealousy: for the personification of conformity, this woman who was not a woman, this human wallpaper. Coretti gazed at the hotel â and lost his nerve. He turned away.
He walked home. Sixteen blocks. At some point he realized that he wasn't drunk. Not drunk at all.
In the morning he phoned in to cancel his early class. But his hangover never quite came. His mouth wasn't desiccated, and staring at himself in the bathroom mirror he saw that his eyes weren't bloodshot.
In the afternoon he slept, and dreamed of sheep-faced people reflected in mirrors behind rows of bottles.
That night he went out to dinner, alone â and ate nothng. The food looked back at him, somehow. He stirred it about to make it look as if he'd eaten a little, paid and went to a bar. And another. And another bar, looking for her. He was using his credit card now, though he was already badly in the hole under Visa. If he saw her, he didn't recognize her.
Sometimes he watched the hotel he'd seen her go into. He looked carefully at each of the couples who came and went. Not that he'd be able to spot her from her looks alone â but there should be afeeling,some kind of intuitive recognition. He watched the couples and he was never sure.
In the following weeks he systematically visited every boozy watering hole in the city. Armed at first with a city map and five torn Yellow Pages, he gradually progressed to the more obscure establishments, places with unlisted numbers. Some had no phone at all. He joined dubious private clubs, discovered unlicensed after-hours retreats where you brought your own, and sat nervously in darkrooms devoted to areas of fringe sexuality he had not known existed.
But he continued on what became his nightly circuit. He always began at the Backdoor. She was never there, or in the next place, or the next. The bartenders knew him and they liked to see him come in, because he bought drinks continuously, and never seemed to get drunk. So he stared at the other customers a bit â so what?
Coretti lost his job.
He'd missed classes too many times. He'd taken to watching the hotel when he could, even in the daytime. He'd been seen in too many bars. He never seemed to change his clothes. He refused night classes. He would let a lecture trail off in the middle as he turned to gaze vacantly out the window.
He was secretly pleased at being fired. They had looked at him oddly at faculty lunches when he couldn't eat his food. And now he had more time for the search.
Coretti found her at 2.15 on a Wednesday morning, in a gay bar called the Barn. Paneled in rough wood and hung with halters and rusting farm equipment, the place was shrill with perfume and laughter and beer. She was everyone's giggling sister, in a blue-sequined dress, a green feather in her coiffed brown hair. Through a sweeping sense of almost cellular relief, Coretti was aware of a kind of admiration, a strange pride he now felt in her â and her kind. Here, too, she belonged. She was a representative type, a fag-hag who posed no threat to the queens or their butchboys. Her companion had become an ageless man with carefully silvered temples, an angora sweater, and a trench coat.
They drank and drank, and went laughing â laughing just the right sort of laughter â out into the rain. A cabwas waiting, its wipers duplicating the beat of Coretti's heart. Jockeying clumsily across the wet sidewalk, Coretti scurried into the cab, dreading their reaction.
Coretti was in the back seat, beside her.
The man with silver temples spoke to the driver. The driver muttered into his hand mike, changed gears, and they flowed away into the rain and the darkened streets. The cityscape made no impression on Coretti, who, looking inwardly, was seeing the cab stop, the gray man and the laughing woman pushing him out and pointing, smiling, to the gate of a mental hospital. Or: the cab stopping, the couple turning, sadly shaking their heads. And a dozen times he seemed to see the cab stopping in an empty side street where they methodically throttled him. Coretti left dead in the rain. Because he was an outsider.
But they arrived at Coretti's hotel.
In the dim glow of the cab's dome light he watched closely as the man reached into his coat for the fare. Coretti could see the coat's lining clearly and it was one piece with the angora sweater. No wallet bulged there, and no pocket. But a kind of slit widened. It opened as the man's fingers poised over it, and it disgorged money. Three bills, folded, were extruded smoothly from the slit. The money was slightly damp. It dried, as the man unfolded it, like the wings of a moth just emerging from the chrysalis.
âKeep the change,' said the belonging man, climbing out of the cab. Antoinette slid out and Coretti followed, his mind seeing only the slit. The slit wet, edged with red, like a gill.
The lobby was deserted and the desk clerk bent over a crossword. The couple drifted silently across the lobbyand into the elevator, Coretti close behind. Once he tried to catch her eye, but she ignored him. And once, as the elevator rose seven floors above Coretti's own, she bent over and sniffed at the chrome wall ashtray, like a dog snuffling at the ground.
Hotels, late at night, are never still. The corridors are never entirely silent. There are countless barely audible sighs, the rustling of sheets, and the muffled voices speaking fragments out of sleep. But in the ninth-floor corridor, Coretti seemed to move through a perfect vacuum, soundless, his shoes making no sound at all on the colorless carpet and even the beating of his outsider's heart sucked away into the vague pattern that decorated the wallpaper.
He tried to count the small plastic ovals screwed on the doors, each with its own three figures, but the corridor seemed to go on forever. At last the man halted before a door, a door veneered like all the rest with imitation rosewood, and put his hand over the lock, his palm flat against the metal. Something scraped softly and then the mechanism clicked and the door swung open. As the man withdrew his hand, Coretti saw a grayish-pink, key-shaped sliver of bone retract wetly into the pale flesh.
No light burned in that room, but the city's dim neon aura filtered in through Venetian blinds and allowed him to see the faces of the dozen or more people who sat perched on the bed and the couch and the armchairs and the stools in the kitchenette. At first he thought that their eyes were open, but then he realized that the dull pupils were sealed beneath nictitating membranes, third eyelids that reflected the faint shades of neon from the window. They wore whatever the last bar had called for; shapeless Salvation Army overcoats sat beside bright suburban leisurewear, evening gowns beside dusty factory clothes,biker's leather by brushed Harris tweed. With sleep, all spurious humanity had vanished.
They were roosting.
His couple seated themselves on the edge of the Formica countertop in the kitchenette, and Coretti hesitated in the middle of the empty carpet. Light-years of that carpet seemed to separate him from the others, but something called to him across the distance, promising rest and peace and belonging. And still he hesitated, shaking with an indecision that seemed to rise from the genetic core of his body's every cell.
Until they opened their eyes, all of them simultaneously, the membranes sliding sideways to reveal the alien calm of dwellers in the ocean's darkest trench.
Coretti screamed, and ran away, and fled along corridors and down echoing concrete stairwells to cool rain and the nearly empty streets.
Coretti never returned to his room on the third floor of that hotel. A bored house detective collected the linguistics texts, the single suitcase of clothing, and they were eventually sold at auction. Coretti took a room in a boardinghouse run by a grim Baptist teetotaler who led her roomers in prayer at the start of every overcooked evening meal. She didn't mind that Coretti never joined them for those meals; he explained that he was given free meals at work. He lied freely and skillfully. He never drank at the boardinghouse, and he never came home drunk. Mr Coretti was a little odd, but always paid his rent on time. And he was very quiet.
Coretti stopped looking for her. He stopped going to bars. He drank out of a paper bag while going to and from his job at a publisher's warehouse, in an area whose industral zoning permitted few bars.
He worked nights.
Sometimes, at dawn, perched on the edge of his unmade bed, drifting into sleep â he never slept lying down, now â he thought about her. Antoinette. And them. The belonging kind. Sometimes he speculated dreamilyâ¦Perhaps they were like house mice, the sort of small animal evolved to live only in the walls of man-made structures.
A kind of animal that lives only on alcoholic beverages. With peculiar metabolisms they convert the alcohol and the various proteins from mixed drinks and wine and beers into everything they need. And they can change outwardly, like a chameleon or a rockfish, for protection. So they can live among us. And maybe, Coretti thought, they grow in stages. In the early stages seeming like humans, eating the food humans eat, sensing their difference only in a vague disquiet of being an outsider.
A kind of animal with its own cunning, its own special set or urban instincts. And the ability to know its own kind when they're near. Maybe.
And maybe not.
Coretti drifted into sleep.
On a Wednesday three weeks into his new job, his landlady opened his door â she never knocked â and told him that he was wanted on the phone. Her voice was tight with habitual suspicion, and Coretti followed her along the dark hallway to the second-floor sitting room and the telephone.
Lifting the old-fashioned black instrument to his ear, he heard only music at first, and then a wall of sound resolving into fragmented amalgam of conversations. Laughter. No one spoke to him over the sound of the bar, but the song in the background was âYou're the Reason Our Kids Are Ugly.'
And then the dial tone, when the caller hung up.
Later, alone in his room, listening to the landlady's firm tread in the room below, Coretti realized that there was no need to remain where he was. The summons had come. But the landlady demanded three weeks' notice if anyone wanted to leave. That meant that Coretti owed her money. Instinct told him to leave it for her.
A Christian workingman in the next room coughed in his sleep as Coretti got up and went down the hall to the telephone. Coretti told the evening-shift foreman that he was quitting his job. He hung up and went back to his room, locked the door behind him, and slowly removed his clothing until he stood naked before the garish framed lithograph of Jesus above the brown steel bureau.
And then he counted out nine tens. He placed them carefully beside the praying-hands plaque decorating the bureau top.
It was nice-looking money. It was perfectly good money. He made it himself.
This time, he didn't feel like making small talk. She'd been drinking a margarita, and he ordered the same. She paid, producing the money with a deft movement of her hand between the breasts bobbling in her low-cut dress. He glimpsed the gill closing there. An excitement rose in him â but somehow, this time, it didn't center in an erection.
After the third margarita their hips were touching, and something was spreading through him in slow orgasmic waves. It was sticky where they were touching; an area the size of the heel of his thumb where the cloth had parted. He was two men: the one inside fusing with her in total cellular communion, and the shell who sat casually on a stool at the bar, elbows on either side of his drink,fingers toying with a swizzle stick. Smiling benignly into space. Calm in the cool dimness.
And once, but only once, some distant worrisome part of him made Coretti glance down to where soft-ruby tubes pulsed, tendrils tipped with sharp lips worked in the shadows between them. Like the joining tentacles of two strange anemones.
They were mating, and no one knew.
And the bartender, when he brought the next drink, offered his tired smile and said, âRainin' out now, innit? Just won't let up.'
âBeen like that all goddamn week,' Coretti answered. âRainin' to beat the band.'
And he said it right. Like a real human being.Hinterlands
When Hiro hit the switch, I was dreaming of Paris, dreaming of wet, dark streets in winter. The pain came oscillating up from the floor of my skull, exploding behind my eyes in wall of blue neon; I jackknifed up out of the mesh hammock, screaming. I always scream; I make a point of it. Feedback raged in my skull. The pain switch is an auxiliary circuit in the bonephone implant, patched directly into the pain centers, just the thing for cutting through a surrogate's barbiturate fog. It took a few seconds for my life to fall together, icebergs of biography looming through the fog: who I was, where I was, what I was doing there, who was waking me.
Hiro's voice came crackling into my head through the bone-conduction implant. âDamn, Toby. Know what it does to my ears, you scream like that?'
âKnow how much I care about yourears,Dr Nagashima? I care about them as much as â'
âNo time for the litany of love, boy. We've got business. But what is it with these fifty-millivolt spike waves off your temporals, hey? Mixing something with the downers to give it a little color?'
âYour EEG's screwed, Hiro. You're crazy. I just want my sleepâ¦' I collapsed into the hammock and tried to pull the darkness over me, but his voice was still there.
âSorry, my man, but you're working today. We got a ship back, an hour ago. Airlock gang are out there right now, sawing the reaction engine off so she'll just about fit through the door.'
âWho is it?'
âLeni Hofmannstahl, Toby, physical chemist, citizen of the Federal Republic of Germany.' He waited until I quit groaning, âIt's a confirmed meatshot.'
Lovely workaday terminology we've developed out here. He meant a returning ship with active medical telemetry, contents one (1) body, warm, psychological status as yet unconfirmed. I shut my eyes and swung there in the dark.
âLooks like you're her surrogate, Toby. Her profile syncs with Taylor's, but he's on leave.'
I knew all about Taylor's âleave.' He was out in the agricultural canisters, ripped on amitriptyline, doing aerobic exercises to counter his latest bout with clinical depression. One of the occupational hazards of being a surrogate. Taylor and I don't get along. Funny how you usually don't, if the guy's psychosexual profile is too much like your own.
âHey, Toby, whereareyou getting all that dope?' The question was ritual. âFrom Charmian?'
âFrom your mom, Hiro.' He knows it's Charmian as well as I do.
âThanks, Toby. Get up here to the Heavenside elevator in five minutes or I'll send those Russian nurses down to help you. The male ones.'
I just swung there in my hammock and played the game called Toby Halpert's Place in the Universe. No egotist, I put the sun in the center, the lumiary, the orb of day. Around it I swung tidy planets, our cozy home system. But justhere,at a fixed point about an eighth of the way out toward the orbit of Mars, I hung a fat alloy cylinder, like a quarter-scale model of Tsiolkovsky 1, the Worker's Paradise back at L-5. Tsiolkovsky 1 is fixed at the liberation point between Earth's gravity and the moon's, butwe need a lightsail to hold us here, twenty tons of aluminum spun into a hexagon, ten kilometers from side to side. That sail towed us out from Earth orbit, and now it's our anchor. We use it to tack against the photon stream, hanging here beside the thing â the point, the singularity â we call the Highway.
The French call itle mÃ©tro,the subway, and the Russians call it the river, butsubwaywon't carry the distance, andriver,for Americans, can't carry quite the same loneliness. Call it the Tovyevski Anomaly Coordinates if you don't mind bringing Olga into it. Olga Tovyevsky, Our Lady of Singularities, Patron Saint of the Highway.
Hiro didn't trust me to get up on my own. Just before the Russian orderlies came in, he turned the lights on in my cubicle, by remote control, and let them strobe and stutter for a few seconds before they fell as a steady glare across the pictures of Saint Olga that Charmian had taped up on the bulkhead. Dozens of them, her face repeated in newsprint, in magazine glossy. Our Lady of the Highway.
Lieutenant Colonel Olga Tovyevski, youngest woman of her rank in the Soviet space effort, was en route to Mars, solo, in a modified Alyut 6. The modifications allowed her to carry the prototype of a new airscrubber that was to be tested in the USSR's four-man Martian orbital lab. They could just as easily have handled the Alyut by remote, from Tsiolkovsky, but Olga wanted to log mission time. They made sure she kept busy, though; they stuck her with a series of routine hydrogen-band radio-flare experiments, the tail end of a low-priority Soviet-Australian scientific exchange. Olga knew that her role in the experiments could have been handled by a standardhousehold timer. But she was a diligent officer; she'd press the buttons at precisely the correct intervals.
With her brown hair drawn back and caught in a net, she must have looked like some idealizedPravdacameo of the Worker in Space, easily the most photogenic cosmonaut of either gender. She checked the Alyut's chronometer again and poised her hand above the buttons that would trigger the first of her flares. Colonel Tovyevski had no way of knowing that she was nearing the point in space that would eventually be known as the Highway.
As she punched the six-button triggering sequence, the Alyut crossed those final kilometers and emitted the flare, a sustained burst of radio energy at 1420 megahertz, broadcast frequency of the hydrogen atom. Tsiolkovsky's radio telescope was tracking, relaying the signal to geosynchronous comsats that bounced it down to stations in the southern Urals and New South Wales. For 3.8 seconds the Alyut's radio image was obscured by the afterimage of the flare.
When the afterimage faded from Earth's monitor screens, the Alyut was gone.
In the Urals a middle-aged Georgian technician bit through the stem of his favorite meerschaum. In New South Wales a young physicist began to slam the side of his monitor, like an enraged pinball finalist protestingTILT.
The elevator that waited to take me up to Heaven looked like Hollywood's best shot at a Bauhaus mummy case â a narrow, upright sarcophagus with a clear acrylic lid. Behind it, rows of identical consoles receded like a textbook illustration of vanishing perspective. The usual crowd of technicians in yellow paper clown suits were milling purposefully around. I spotted Hiro in blue denim,his pearl-buttoned cowboy shirt open over a faded UCLA sweat shirt. Engrossed in the figures cascading down the face of a monitor screen, he didn't notice me. Neither did anyone else.
So I just stood there and stared up at the ceiling, at the bottom of the floor of Heaven. It didn't look like much. Our fat cylinder is actually two cylinders, one inside the other. Down here in the outer one â we make our own âdown' with axial rotation â are all the more mundane aspects of our operation: dormitories, cafeterias, the airlock deck, where we haul in returning boats, Communications â and Wards, where I'm careful never to go.
Heaven, the inner cylinder, the unlikely green heart of this place, is the ripe Disney dream of homecoming, the ravenous ear of an information-hungry global economy. A constant stream of raw data goes pulsing home to Earth, a flood of rumours, whispers, hints of transgalactic traffic. I used to lie rigid in my hammock and feel the pressure of all those data, feel them snaking through the lines I imagined behind the bulkhead, lines like sinews, strapped and bulging, ready to spasm, ready to crush me. Then Charmian moved in with me, and after I told her about the fear, she made magic against it and put up her icons of Saint Olga. And the pressure receded, fell away.
âPatching you in with a translator, Toby. You may need German this morning.' His voice was sand in my skull, a dry modulation of static. âHillary â'
âOn line, Dr Nagashima,' said a BBC voice, clear as ice crystal. âYou do have French, do you, Toby? Hofmannstahl has French and English.'
âYou stay the hell out of my hair, Hillary. Speak when you're bloody spoken to, got it?' Her silence became another layer in the complex, continual sizzle of static.Hiro shot me a dirty look across two dozen consoles. I grinned.
It was starting to happen: the elation, the adrenaline rush. I could feel it through the last wisps of barbiturate. A kid with a surfer's smooth, blond face was helping me into a jump suit. It smelled; it was new-old, carefully battered, soaked with synthetic sweat and customized pheromones. Both sleeves were plastered from wrist to shoulder with embroidered patches, mostly corporate logos, subsidiary backers of an imaginary Highway expedition, with the main backer's much larger trademark stitched across my shoulders â the firm that was supposed to have sent HALPERT, TOBY out to his rendezvous with the stars. At least my name was real, embroidered in scarlet nylon capitals just above my heart.
The surfer boy had the kind of standard-issue good looks I associate with junior partners in the CIA, but his name tape said NEVSKY and repeated itself in Cyrillic. KGB, then. He was notsiolnik;he didn't have that loose-jointed style conferred by twenty years in their L-5 habitat. The kid was pure Moscow, a polite clipboard ticker who probably knew eight ways to kill with a rolled newspaper. Now we began the ritual of drugs and pockets; he tucked a microsyringe, loaded with one of the new euphorohallucinogens, into the pocket on my left wrist, took a step back, then ticked it off in his clipboard. The printed outline of a jump-suited surrogate on his special pad looked like a handgun target. He took a five-gram vial of opium from the case he wore chained to his waist and found the pocket for that. Tick. Fourteen pockets. The cocaine was last.
Hiro came over just as the Russian was finishing. âMaybe she has some hard data, Toby; she's a physical chemist, remember.' It was strange to hear him acoustically,not as bone vibration from the implant.
âEverything's hard up there, Hiro.'
âDon't I know it?' He was feeling it, too, that special buzz. We couldn't quite seem to make eye contact. Before the awkwardness could deepen, he turned and gave one of the yellow clowns the thumbs up.
Two of them helped me into the Bauhaus coffin and stepped back as the lid hissed down like a giant's faceplate. I began my ascent to Heaven and the homecoming of a stranger named Leni Hofmannstahl. A short trip, but it seems to take forever.
Olga, who was our first hitchhiker, the first one to stick out her thumb on the wavelength of hydrogen, made it home in two years. At Tyuratam, in Kazakhstan, one gray winter morning, they recorded her return on eighteen centimeters of magnetic tape.
If a religious man â one with a background in film technology â had been watching the point in space where her Alyut had vanished two years before, it might have seemed to him that God had butt-spliced footage of empty space with footage of Olga's ship. She blipped back into our space-time like some amateur's atrocious special effect. A week later and they might never have reached her in time; Earth would have spun on its way and left her drifting toward the sun. Fifty-three hours after her return, a nervous volunteer named Kurtz, wearing an armored work suit, climbed through the Alyut's hatch. He was an East German specialist in space medicine, and American cigarettes were his secret vice; he wanted one very badly as he negotiated the air lock, wedged his way past a rectangular mass of airscrubber core, and chinned his helmet lights. The Alyut, even after two years, seemed to be full of breathable air. In the twin beams from themassive helmet, he saw tiny globules of blood and vomit swinging slowly past, swirling in his wake, as he edged the bulky suit out of the crawlway and entered the command module. Then he found her.
She was drifting above the navigational display, naked, cramped in a rigid fetal knot. Her eyes were open, but fixed on something Kurtz would never see. Her fists were bloody, clenched like stone, and her brown hair, loose now, drifted around her face like seaweed. Very slowly, very carefully, he swung himself across the white keyboards of the command console and secured his suit to the navigational display. She'd gone after the ship's communications gear with her bare hands, he decided. He deactivated the work suit's right claw; it unfolded automatically, like two pairs of vise-grip pliers pretending they were a flower. He extended his hand, still sealed in a pressurized gray surgical glove.
Then, as gently as he could, he pried open the fingers of her left hand. Nothing.
But when he opened her right fist, something spun free and tumbled in slow motion a few centimeters from the synthetic quartz of his faceplate. It looked like a seashell.
Olga came home, but she never came back to life behind those blue eyes. They tried, of course, but the more they tried, the more tenuous she became, and, in their hunger to know, they spread her thinner and thinner until she came, in her martyrdom, to fill whole libraries with frozen aisles of precious relics. No saint was ever pared so fine; at the Plesetsk laboratories alone, she was represented by more than two million tissue slides, racked and numbered in the subbasement of a bombproof biological complex.
They had better luck with the seashell. Exobiology suddenly found itself standing on unnervingly solidground: one and seven-tenths grams of highly organized biological information, definitely extraterrestrial. Olga's seashell generated an entire subbranch of the science, devoted exclusively to the study ofâ¦Olga's seashell.
The initial findings on the shell made two things clear. It was the product of no known terrestrial biosphere, and as there were no other known biospheres in the solar system, it had come from another star. Olga had either visited the place of its origin or come into contact, however, distantly, with something that was, or had once been, capable of making the trip.
They sent a Major Grosz out to the Tovyevski Coordinates in a specially fitted Alyut 9. Another ship followed him. He was on the last of his twenty hydrogen flares when his ship vanished. They recorded his departure and waited. Two hundred thirty-four days later he returned. In the meantime they had probed the area constantly, desperate for anything that might become the specific anomaly, the irritant around which a theory might grow. There was nothing: only Grosz's ship, tumbling out of control. He committed suicide before they could reach him, the Highway's second victim.
When they towed the Alyut back to Tsiolkovsky, they found that the elaborate recording gear was blank. All of it was in perfect working order; none of it had functioned. Grosz was flash-frozen and put on the first shuttle down to Plesetsk, where bulldozers were already excavating for a new subbasement.
Three years later, the morning after they lost their seventh cosmonaut, a telephone range in Moscow. The caller introduced himself. He was the director of the Central Intelligence Agency of the United States of America. He was authorized, he said, to make a certain offer. Under certain very specific conditions, the SovietUnion might avail itself of the best minds in Western psychiatry. It was the understanding of his agency, he continued, that such help might currently be very welcome.
His Russian was excellent.
The bonephone static was a subliminal sandstorm. The elevator slid up into its narrow shaft through the floor of Heaven. I counted blue lights at two-meter intervals. After the fifth light, darkness and cessation.
Hidden in the hollow command console of the dummy Highway boat, I waited in the elevator like the secret behind the gimmicked bookcase in a children's mystery story. The boat was a prop, a set piece, like the Bavarian cottage glued to the plaster alp in some amusement park â a nice touch, but one that wasn't quite necessary. If the returnees accept us at all, they take us for granted; our cover stories and props don't seem to make much difference.
âAll clear,' Hiro said. âNo customers hanging around.' I reflexively massaged the scar behind my left ear, where they'd gone in to plant the bonephone. The side of the dummy console swung open and let in the gray dawn light of Heaven. The fake boat's interior was familiar and strange at the same time, like your own apartment when you haven't seen it for a week. One of those new Brazilian vines had snaked its way across the left viewport since my last time up, but that seemed to be the only change in the whole scene.
Big fights over those vines at the biotecture meetings, American ecologists screaming about possible nitrogen shortfalls. The Russians have been touchy about biodesign ever since they had to borrow Americans to help them with the biotic program back at Tsiolkovsky 1.Nasty problem with the rot eating the hydroponic wheat; all that superfine Soviet engineering and they still couldn't establish a functional ecosystem. Doesn't help that that initial debacle paved the way for us to be out here with them now. It irritates them; so they insist on the Brazilian vines, whatever â anything that gives them a chance to argue. But I like those vines: The leaves are heart-shaped, and if you rub one between your hands, it smells like cinnamon.
I stood at the port and watched the clearing take shape, as reflected sunlight entered Heaven. Heaven runs on Greenwich Standard; big Mylar mirrors were swiveling somewhere, out in bright vacuum, on schedule for a Greenwich Standard dawn. The recorded birdsongs began back in the trees. Birds have a very hard time in the absence of true gravity. We can't have real ones, because they go crazy trying to make do with centrifugal force.
The first time you see it, Heaven lives up to its name, lush and cool and bright, the long grass dappled with wildflowers. It helps if you don't know that most of the trees are artificial, or the amount of care required to maintain something like the optimal balance between blue-green algae and diatom algae in the ponds. Charmian says she expects Bambi to come gamboling out of the woods, and Hiro claims he knows exactly how many Disney engineers were sworn to secrecy under the National Security Act.
âWe're getting fragments from Hofmannstahl,' Hiro said. He might almost have been talking to himself; the handler-surrogate gestalt was going into effect, and soon we'd cease to be aware of each other. The adrenaline edge was tapering off. âNothing very coherent. “SchÃ¶ne Maschine,”somethingâ¦“Beautiful machine”â¦Hillary thinks she sounds pretty calm, but right out of it.'
âDon't tell me about it. No expectations, right? Let's go in loose.' I opened the hatch and took a breath of Heaven's air; it was like cool white wine. âWhere's Charmian?'
He sighed, a soft gust of static. âCharmian should be in Clearing Five, taking care of a Chilean who's three days home, but she's not, because she heard you were coming. So she's waiting for you by the carp pond. Stubborn bitch,' he added.
Charmian was flicking pebbles at the Chinese bighead carp. She had a cluster of white flowers tucked behind her ear, a wilted Marlboro behind the other. Her feet were bare and muddy, and she'd hacked the legs off her jump suit at midthigh. Her black hair was drawn back in a pony tail.
We'd met for the first time at a party out in one of the welding shops, drunken voices clanging in the hollow of the alloy sphere, homemade vodka in zero gravity. Someone had a bag of water for a chaser, squeezed out a double handful, and flipped it expertly into a rolling floppy ball of surface tension. Old jokes about passing water. But I'm graceless in zero g. I put my hand through it when it came my way. Shook a thousand silvery little balls from my hair, batting at them, tumbling, and the woman beside me was laughing, turning slow somersaults, long, thin girl with black hair. She wore those baggy drawstring pants that tourists take home from Tsiolkovsky and a faded NASA T-shirt three sizes too big. A minute later she was telling me about hang-gliding with the teentsiolnikiand about how proud they'd been of the weak pot they grew in one of the corn canisters. I didn't realize she was another surrogate until Hiro clicked in to tell us the party was over. She moved in with me a week later.
âA minute, okay?' Hiro gritted his teeth, a horrible sound. âOne. Uno.' Then he was gone, off the circuit entirely, maybe not even listening.
âHow's tricks in Clearing Five?' I squatted beside her and found some pebbles of my own.
âNot so hot. I had to get away from him for a while, shot him up with hypnotics. My translator told me you were on your way up.' She has the kind of Texas accent that makesicesound likeass.
âThought you spoke Spanish. Guy's Chilean, isn't he?' I tossed one of my pebbles into the pond.
âI speak Mexican. The culture vultures said he wouldn't like my accent. Good thing, too. I can't follow him when he talks fast.' One of her pebbles followed mine, rings spreading on the surface as it sank. âWhich is constantly,' she added. A bighead swam over to see whether her pebble was good to eat. âHe isn't going to make it.' She wasn't looking at me. Her tone was perfectly neutral. âLittle Jorge is definitely not making it.'
I chose the flattest of my pebbles and tried to skip it across the pond, but it sank. The less I knew about Chilean Jorge, the better. I knew he was a live one, one of the ten per cent. Our DOA count runs at twenty per cent. Suicide. Seventy per cent of the meatshots are automatic candidates for Wards: the diaper cases, mumblers, totally gone. Charmian and I are surrogates for that final ten per cent.
If the first ones to come back had only returned with seashells, I doubt that Heaven would be out here. Heaven was built after a dead Frenchman returned with a twelve-centimeter ring of magnetically coded steel locked in his cold hand, black parody of the lucky kid who wins the free ride on the merry-go-round. We may never find out where or how he got it, but that ring was the Rosettastone for cancer. So now it's cargo cult time for the human race. We can pick things up out there that we might not stumble across in research in a thousand years. Charmian says we're like those poor suckers on their islands, who spend all their time building landing strips to make the big silver birds come back. Charmian says that contact with âsuperior' civilizations is something you don't wish on your worst enemy.
âEver wonder how they thought this scam up, Toby?' She was squinting into the sunlight, east, down the length of our cylindrical country, horizonless and green. âThey must've had all the heavies in, the shrink elite, scattered down a long slab of genuine imitation rosewood, standard Pentagon issue. Each one got a clean notepad and a brand-new pencil, specially sharpened for the occasion. Everybody was there: Freudians, Jungians, Adlerians, Skinner rat men, you name it. And every one of those bastards knew in his heart that it was time to play his best hand. As a profession, not just as representatives of a given faction. There they are, Western psychiatry incarnate. And nothing's happening! People are popping back off the Highway dead, or else they come back drooling, singing nursery rhymes. The live ones last about three days, won't say a goddamned thing, then shoot themselves or go catatonic.' She took a small flashlight from her belt and casually cracked its plastic shell, extracting the parabolic reflector. âKremlin's screaming. CIA's going nuts. And worst of all, the multinationals who want to back the show are getting cold feet. “Dead spacemen? No data? No deal, friends.” So they're getting nervous, all those supershrinks, until some flake, some grinning weirdo from Berkeley maybe, he says,' and her drawl sank to parody stoned mellowness, â“Like, hey, why don't we just put these people into a realniceplace with a lottagooddopeand somebody they can reallyrelateto, hey?”' She laughed, shook her head. She was using the reflector to light her cigarette, concentrating the sunlight. They don't give us matches; fires screw up the oxygen-carbon dioxide balance. A tiny curl of gray smoke twisted away from the white-hot focal point.
âOkay,' Hiro said, âthat's your minute.' I checked my watch; it was more like three minutes.
âGood luck, baby,' she said softly, pretending to be intent on her cigarette. âGodspeed.'
The promise of pain. It's there each time. You know what will happen, but you don't know when, or exactly how. You try to hold on to them; you rock them in the dark. But if you brace for the pain, you can't function. That poem Hiro quotes.Teach us to care and not to care.
We're like intelligent houseflies wandering through an international airport; some of us actually manage to blunder on to flights to London or Rio, maybe even survive the trip and make it back. âHey,' say the other flies, âwhat's happening on the other side of that door? What do they know that we don't?' At the edge of the Highway every human language unravels in your hands â except, perhaps, the language of the shaman, of the cabalist, the language of the mystic intent on mapping hierarchies of demons, angels, saints.
But the Highway is governed by rules, and we've learned a few of them. That gives us something to cling to:
Rule One: One entity per ride; no teams, no couples.
Rule Two: No artificial intelligences; whatever's out there won't stop for a smart machine, at least not the kind we know how to build.
Rule Three: Recording instruments are a waste of space; they always come back blank.
Dozens of new schools of physics have sprung up in Saint Olga's wake, ever more bizarre and more elegant heresies, each one hoping to shoulder its way to the inside track. One by one, they all fall down. In the whispering quiet of Heaven's nights, you imagine you can hear the paradigms shatter, shards of theory tinkling into brilliant dust as the lifework of some corporate think tank is reduced to the tersest historical footnote, and all in the time it take your damaged traveler to mutter some fragment in the dark.
Flies in an airport, hitching rides. Flies are advised not to ask too many questions; flies are advised not to try for the Big Picture. Repeated attempts in that direction invariably lead to the slow, relentless flowering of paranoia, your mind projecting huge, dark patterns on the walls of night, patterns that have a way of solidifying, becoming madness, becoming religion. Smart flies stick with Black Box theory; Black Box is the sanctioned metaphor, the Highway remainingxin every sane equation. We aren't supposed to worry about what the Highway is, or who put it there. Instead, we concentrate on what we put into the Box and what we get back out of it. There are things we send down the Highway (a woman named Olga, her ship, so many more who've followed) and things that come to us (a madwoman, a seashell, artifacts, fragments of alien technologies). The Black Box theorists assure us that our primary concern is to optimize this exchange. We're out here to see that our species gets its money's worth. Still, certain things become increasingly evident; one of them is that we aren't the only flies who've found their way into an airport. We've collectedartifacts from at least half a dozen wildly divergent cultures. âMore hicks,' Charmian calls them. We're like pack rats in the hold of a freighter, trading little pretties with rats from other ports. Dreaming of the bright lights, the big city.
Keep it simple, a matter of In and Out. Leni Hofmannstahl: Out.
We staged the homecoming of Leni Hofmannstahl in Clearing Three, also known as Elysium. I crouched in a stand of meticulous reproductions of young vine maples and studied her ship. It had originally looked like a wingless dragonfly, a slender, ten-meter abdomen housing the reaction engine. Now, with the engine removed, it looked like a matte-white pupa, larval eye bulges stuffed with the traditional useless array of sensors and probes. It lay on a gentle rise in the center of the clearing, a specially designed hillock sculpted to support a variety of vessel formats. The newer boats are smaller, like Grand Prix washing machines, minimalist pods with no pretense to being exploratory vessels. Modules for meatshots.
âI don't like it,' Hiro said. âI don't like this one. It doesn't feel rightâ¦' He might have been talking to himself; he might almost have beenmetalking to myself, which meant the handler-surrogate gestalt was almost operational. Locked into my role, I'm no longer the point man for Heaven's hungry ear, a specialized probe radio-linked with an even more specialized psychiatrist; when the gestalt clicks, Hiro and I meld into something else, something we can never admit to each other, not when it isn't happening. Our relationship would give a classical Freudian nightmares. But I knew that he was right: something felt terribly wrong this time.
The clearing was roughly circular. It had to be; it was actually a fifteen-meter round cut through the floor ofHeaven, a circular elevator disguised as an Alpine mini-meadow. They'd sawed Leni's engine off, hauled her boat into the outer cylinder, lowered the clearing to the airlock deck, then lifted her to Heaven on a giant pie plate landscaped with grass and wildflowers. They'd blanked her sensors with broadcast overrides and sealed her ports and hatch; Heaven is supposed to be a surprise to the newly arrived.
I found myself wondering whether Charmian was back with Jorge yet. Maybe she'd be cooking something for him, one of the fish we âcatch' as they're released into our hands from cages on the pool bottoms. I imagined the smell of frying fish, closed my eyes, and imagined Charmian wading in the shallow water, bright drops beading on her thighs, long-legged girl in a fishpond in Heaven.
âMove, Toby! In now!'
My skull rang with the volume; training and the gestalt reflex already had me halfway across the clearing. âGoddamn, goddamn, goddamnâ¦' Hiro's mantra, and I knew it had managed to goallwrong, then. Hillary the translator was a shrill undertone, BBC ice cracking as she rattled something out at top speed, something about anatomical charts. Hiro must have used the remotes to unseal the hatch, but he didn't wait for it to unscrew itself. He triggered six explosive bolts built into the hull and blew the whole hatch mechanism out intact. It barely missed me. I had instinctively swerved out of its way. Then I was scrambling up the boat's smooth side, grabbing for the honeycomb struts just inside the entranceway; the hatch mechanism had taken the alloy ladder with it.
And I froze there, crouching in the smell ofplastiquefrom the bolts, because that was when the Fear found me, really found me, for the first time.
I'd felt it before, the Fear, but only the fringes, theleast edge. Now it was vast, the very hollow of night, an emptiness cold and implacable. It was last words, deep space, every long goodbye in the history of our species. It made me cringe, whining. I was shaking, groveling, crying. They lecture us on it, warn us, try to explain it away as a kind of temporary agrophobia endemic to our work. But we know what it is; surrogates know and handlers can't. No explanation has ever even come close.
It's the Fear. It's the long finger of Big Night, the darkness that feeds the muttering damned to the gentle white maw of Wards. Olga knew it first, Saint Olga. She tried to hide us from it, clawing at her radio gear, bloodying her hands to destroy her ship's broadcast capacity, praying Earth would lose her, let her dieâ¦
Hiro was frantic, but he must have understood, and he knew what to do.
He hit me with the pain switch. Hard. Over and over, like a cattle prod. He drove me into the boat. He drove me through the Fear.
Beyond the Fear, there was a room. Silence, and a stranger's smell, a woman's.
The cramped module was worn, almost homelike, the tired plastic of the acceleration couch patched with peeling strips of silver tape. But it all seemed to mold itself around an absence. She wasn't there. Then I saw the insane frieze of ballpoint scratchings, crabbed symbols, thousands of tiny, crooked oblongs locking and overlapping. Thumb-smudged, pathetic, it covered most of the rear bulkhead.
Hiro was static, whispering, pleading.Find her, Toby, now, please, Toby, find her, find her, find â
I found her in the surgical bay, a narrow alcove off the crawlway. Above her, theSchÃ¶ne Maschine,the surgical manipulator, glittering, its bright, thin arms neatly folded,chromed limbs of a spider crab, tipped with hemostats, forceps, laser scalpel. Hillary was hysterical, half-lost on some faint channel, something about the anatomy of the human arm, the tendons, the arteries, basic taxonomy. Hillary was screaming.
There was no blood at all. The manipulator is a clean machine, able to do a no-mess job in zero g, vacuuming the blood away. She'd died just before Hiro had blown the hatch, her right arm spread out across the white plastic work surface like a medieval drawing, flayed, muscles and other tissues tacked out in a neat symmetrical display, held with a dozen stainless-steel dissecting pins. She bled to death. A surgical manipulator is carefully programmed against suicides, but it can double as a robot dissector, preparing biologicals for storage.
She'd found a way to fool it. You usually can, with machines, given time. She'd had eight years.
She lay there in a collapsible framework, a thing like the fossil skeleton of a dentist's chair, through it, I could see the faded embroidery across the back of her jump suit, the trademark of a West German electronics conglomerate. I tried to tell her. I said, âPlease, you're dead. Forgive us, we came to try to help, Hiro and I. Understand? Heknowsyou, see, Hiro, he's here in my head. He's read your dossier, your sexual profile, your favorite colors; he knows your childhood fears, first lover, name of a teacher you liked. And I've got just the right pheromones, and I'm a walking arsenal of drugs, something here you're bound to like. And we can lie, Hiro and I; we're ace liars. Please. You've got to see. Perfect strangers, but Hiro and I, for you, we make up theperfectstranger, Leni.'
She was a small woman, blond, her smooth, straight hair streaked with premature gray. I touched her hair,once, and went out into the clearing. As I stood there, the long grass shuddered, the wildflowers began to shake, and we began our descent, the boat centered on its landscaped round of elevator. The clearing slid down out of Heaven, and the sunlight was lost in the glare of huge vapor arcs that threw hard shadows across the broad deck of the air lock. Figures in red suits, running. A red Dinky Toy did a U-turn on fat rubber wheels, getting out of our way.
Nevsky, the KGB surfer, was waiting at the foot of the gangway that they wheeled to the edge of the clearing. I didn't see him until I reached the bottom.
âI must take the drugs now, Mr Halpert.'
I stood there, swaying, blinking tears from my eyes. He reached out to steady me. I wondered whether he even knew why he was down here in the lock deck, a yellow suit in red territory. But he probably didn't mind; he didn't seem to mind anything very much; he had his clipboard ready.
âI must take them, Mr Halpert.'
I stripped out of the suit, bundled it, and handed it to him. He stuffed it into a plastic Ziploc, put the Ziploc in a case manacled to his left wrist, and spun the combination.
âDon't take them all at once, kid,' I said. Then I fainted.
Late that night Charmian brought a special kind of darkness down to my cubicle, individual doses sealed in heavy foil. It was nothing like the darkness of Big Night, that sentient, hunting dark that waits to drag the hitchhikers down to Wards, that dark that incubates the Fear. It was a darkness like the shadows moving in the back seat of your parents' car, on a rainy night when you'refive years old, warm and secure. Charmian's a lot slicker than I am when it comes to getting past the clipboard tickers, the ones like Nevsky.
I didn't ask her why she was back from Heaven, or what had happened to Jorge. She didn't ask me anything about Leni.
Hiro was gone, off the air entirely. I'd seen him at the debriefing that afternoon; as usual, our eyes didn't meet. It didn't matter. I knew he'd be back. It had been business as usual, really. A bad day in Heaven, but it's never easy. It's hard when you feel the Fear for the first time, but I've always known it was there, waiting. They talked about Leni's diagrams and about her ballpoint sketches of molecular chains that shift on command. Molecules that can function as switches, logic elements, even a kind of wiring, built up in layers into a single very large molecule, a very small computer. We'll probably never know what she met out there; we'll probably never know the details of the transaction. We might be sorry if we ever found out. We aren't the only hinterland tribe, the only ones looking for scraps.
Damn Leni, damn that Frenchman, damn all the ones who bring things home, who bring cancer cures, seashells, things without names â who keep us here waiting, who fill Wards, who bring us the Fear. But cling to this dark, warm and close, to Charmian's slow breathing, to the rhythm of the sea. You get high enough out here; you'll hear the sea, deep down behind the constant conch-shell static of the bonephone. It's something we carry with us, no matter how far from home.
Charmian stirred beside me, muttered a stranger's name, the name of some broken traveler long gone down to Wards. She holds the current record; she kept a man alive for two weeks, until he put his eyes out with histhumbs. She screamed all the way down, broke her nails on the elevator's plastic lid. Then they sedated her.
We both have the drive, though, that special need, that freak dynamic that lets us keep going back to Heaven. We both got it the same way, lay out there in our little boats for weeks, waiting for the Highway to take us. And when our last flare was gone, we were hauled back here by tugs. Some people just aren't taken, and nobody knows why. And you'll never get a second chance. They say it's too expensive, but what they really mean, as they eye the bandages on your wrists, is that now you're too valuable, too much use to them as a potential surrogate. Don't worry about the suicide attempt, they'll tell you; happens all the time. Perfectly understandable: feeling of profound rejection. But I'd wanted to go, wanted so bad. Charmian, too. She tried with pills. But they worked on us, twisted us a little, aligned our drives, planted the bone-phones, paired us with handlers.
Olga must have known, must have seen it all, somehow; she was trying to keep us from finding our way out there, where she'd been. She knew that if we found her, we'd have to go. Even now, knowing what I know, I still want to go. I never will. But we can swing here in this dark that towers way above us, Charmian's hand in mine. Between our palms the drug's torn foil wrapper. And Saint Olga smiles out at us from the walls; you can feel her, all those prints from the same publicity shot, torn and taped across the walls of night, her white smile, forever.Red Star, Winter OrbitBruce Sterling and William Gibson
Colonel Korolev twisted slowly in his harness, dreaming of winter and gravity. Young again, a cadet, he whipped his horse across the late November steppes of Kazakhstan into dry red vistas of Martian sunset.
That's wrong,he thought â
And woke â in the Museum of the Soviet Triumph in Space â to the sounds of Romanenko and the KGB man's wife. They were going at it again behind the screen at the aft end of the Salyut, restraining straps and padded hull creaking and thudding rhythmically. Hooves in the snow.
Freeing himself from the harness, Korolev executed a practiced kick that propelled him into the toilet stall. Shrugging out of his threadbare coverall, he clamped the commode around his loins and wiped condensed steam from the steel mirror. His arthritic hand had swollen again during sleep; the wrist was bird-bone thin from calcium loss. Twenty years had passed since he'd last known gravity; he'd grown old in orbit.
He shaved with a suction razor. A patchwork of broken veins blotched his left cheek and temple, another legacy from the blowout that had crippled him.
When he emerged, he found that the adulterers had finished. Romanenko was adjusting his clothing. The political officer's wife, Valentina, had ripped the sleeves from her brown coverall; her white arms were sheened with the sweat of their exertion. Her ash-blond hair rippled in the breeze from a ventilator. Her eyes were purest cornflower blue, set a little too closely together,and they held a look half-apologetic, half-conspiratorial. âSee what we've brought you, Colonel â'
She handed him a tiny airline bottle of cognac.
Stunned, Korolev blinked at the Air France logo embossed on the plastic cap.
âIt came in the last Soyuz. In a cucumber, my husband said.' She giggled. âHe gave it to me.'
âWe decided you should have it, Colonel,' Romanenko said, grinning broadly. âAfter all, we can be furlough at any time.' Korolev ignored the sidelong, embarrassed glance at his shriveled legs and pale, dangling feet.
He opened the bottle, and the rich aroma brought a sudden tingling rush of blood to his cheeks. He raised it carefully and sucked out a few milliliters of brandy. It burned like acid. âChrist,' he gasped, âit's been years. I'll get plastered!' he said, laughing, tears blurring his vision.
âMy father tells me you drank like a hero, Colonel, in the old days.'
âYes,' Korolev said, and sipped again, âI did.' The cognac spread through him like liquid gold. He disliked Romanenko. He'd never liked the boy's father, either â an easygoing Party man, long since settled into lecture tours, a dacha on the Black Sea, American liquor, French suits, Italian shoesâ¦The boy had the father's looks, the same clear gray eyes utterly untroubled by doubt.
The alcohol surged through Korolev's thin blood. âYou are too generous,' he said. He kicked once, gently, and arrived at his console. âYou must take somesamisdata,American cable broadcasts, freshly intercepted. Racy stuff! Wasted on an old man like me.' He slotted a blank cassette and punched for the material.
âI'll give it to the gun crew,' Romanenko said, grinning. âThey can run it on the tracking consoles in the gun room.' The particle-beam station had always been known as thegun room. The soldiers who manned it were particularly hungry for this sort of tape. Korolev ran off a second copy for Valentina.
âIt's dirty?' She looked alarmed and intrigued. âMay we come again, Colonel? Thursday at 2400?'
Korolev smiled at her. She had been a factory worker before she'd been singled out for space. Her beauty made her useful as a propaganda tool, a role model for the proletariat. He pitied her now, with the cognac coursing through his veins, and found it impossible to deny her a little happiness. âA midnght rendezvous in the museum, Valentina? Romantic!'
She kissed his cheek, wobbling in free fall. âThank you, my Colonel.'
âYou're a prince, Colonel,' Romanenko said, slapping Korolev's matchstick shoulder as gently as he could. After countless hours on an exerciser, the boy's arms bulged like a blacksmith's.
Korolev watched the lovers carefully make their way out into the central docking sphere, the junction of three aging Salyuts and two corridors. Romanenko took the ânorth' corridor to the gun room; Valentina went in the opposite direction to the next junction sphere and the Salyut where her husband slept.
There were five docking spheres in Kosmograd, each with its three linked Salyuts. At opposite ends of the complex were the military installation and the satellite launchers. Popping, humming and wheezing, the station had the feel of a subway and the dank metallic reek of a tramp steamer.
Korolev had another pull at the bottle. Now it was half-empty. He hid it in one of the museum's exhibits, a NASA Hasselblad recovered from the site of the Apollo landing. He hadn't had a drink since his last furlough,before the blowout. His head swam in a pleasant, painful current of drunken nostalgia.
Drifting back to his console, he accessed a section of memory where the collected speeches of Alexei Kosygin had been covertly erased and replaced with his personal collection ofsamisdata,digitized pop music, his boyhood favorites from the Eighties. He had British groups taped from West German radio, Warsaw Pact heavy metal, American imports from the black market. Putting on his headphones, he punched for the Czestochowa reggae of Brygada Cryzis.
After all the years, he no longer really heard the music, but images came rushing back with an aching poignancy. In the Eighties he'd been a long-haired child of the Soviet elite, his father's position placing him effectively beyond the reach of the Moscow police. He remembered feedback howling through the speakers in the hot darkness of a cellar club, the crowd a shadowy checkerboard of denim and bleached hair. He'd smoked Marlboros laced with powdered Afghani hash. He remembered the mouth of an American diplomat's daughter in the back seat of her father's black Lincoln. Names and faces came flooding in on a warm haze of cognac. Nina, the East German who'd shown him her mimeographed translations of dissident Polish newssheets â
Until the night she didn't turn up at the coffee bar. Whispers of parasitism, of anti-Soviet activity, of the waiting chemical horrors of thepsikuska â
Korolev started to tremble. He wiped his face and found it bathed in sweat. He took off the headphones.
It had been fifty years, yet he was suddenly and very intensely afraid. He couldn't remember ever having been this frightened, not even during the blowout that had crushed his hip. He shook violently. The lights. The lightsin the Salyut were too bright, but he didn't want to go to the switches. A simple action, one he performed regularly, yetâ¦The switches and their insulated cables were somehow threatening. He stared, confused. The little clockwork model of a Lunokhod moon rover, its Velcro wheels gripping the curved wall, seemed to crouch there like something sentient, poised, waiting. The eyes of the Soviet space pioneers in the official portraits were fixed on him with contempt.
The cognac. His years in free fall had warped his metabolism. He wasn't the man he'd once been. But he would remain calm and try to ride it out. If he threw up, everyone would laugh.
Someone knocked at the entrance to the museum, and Nikita the Plumber, Kosmograd's premier handyman, executed a perfect slow-motion dive through the open hatch. The young civilian engineer looked angry. Korolev felt cowed. âYou're up early, Plumber,' he said, anxious for some facade of normality.
âPinhead leakage in Delta Three.' He frowned. âDo you understand Japanese?' The Plumber tugged a cassette from one of the dozen pockets that bulged on his stained work vest and waved it in Korolev's face. He wore carefully laundered Levi's and dilapidated Adidas running shoes. âWe accessed this last night.'
Korolev cowered as though the cassette were a weapon. âNo, no Japanese.' The meekness of his own voice startled him. âOnly English and Polish.' He felt himself blush. The Plumber was his friend; he knew and trusted the Plumber, but â
âAre you well, Colonel?' The Plumber loaded the tape and punched up a lexicon program with deft, callused fingers.'You look as though you just ate a bug. I want you to hear this.'
Korolev watched uneasily as the tape flickered into an ad for baseball gloves. The lexicon's Cyrillic subtitles raced across the monitor as a Japanese voice-over rattled maniacally.
âThe newscast's coming up,' said the Plumber, gnawing at a cuticle.
Korolev squinted anxiously as the translation slid across the face of the Japanese announcer:
AMERICAN DISARMAMENT GROUP CLAIMSâ¦PREPARATIONS AT BAIKONUR COSMODROMEâ¦PROVE RUSSIANS AT LAST READYâ¦TO SCRAP ARMED SPACE STATION COMIC CITY
âCosmic,' the Plumber muttered. âGlitch in the lexicon.'
BUILT AT TURN OF CENTURY AS BRIDGEHEAD TO SPACEâ¦AMBITIOUS PROJECT CRIPPLED BY FAILURE OF LUNAR MININGâ¦EXPENSIVE STATION OUTPERFORMED BY OUR UNMANNED ORBITAL FACTORIESâ¦CRYSTALS, SEMICONDUCTORS AND PURE DRUGSâ¦
âSmug bastards.' The Plumber snorted. âI tell you, it's that goddamned KGB man Yefremov. He's had a hand in this!'
STAGGERING SOVIET TRADE DEFICITSâ¦POPULAR DISCONTENT WITH SPACE EFFORTâ¦RECENT DECISIONS BY POLITBURO AND CENTRAL COMMITTEE SECRETARIATâ¦
âThey're shutting us down!' The Plumber's face contorted with rage.
Korolev twisted away from the screen, shaking uncontrollably. Sudden tears peeled from his lashes in free-fall droplets. âLeave me alone! I can do nothing!'
âWhat's wrong, Colonel?' The Plumber grabbed his shoulders. âLook me in the face. Someone's dosed you with the Fear!'
âGo away,' Korolev begged.
âThat little spook bastard! What has he given you? Pills? An injection?'
Korolev shuddered. âI had a drink â'
âHe gave you the Fear! You, a sick old man! I'll break his face!' The Plumber jerked his knees up, somersaulted backward, kicked off from a handhold overhead, and catapulted out of the room.
âWait! Plumber!' But the Plumber had zipped through the docking sphere like a squirrel, vanishing down the corridor, and now Korolev felt that he couldn't bear to be alone. In the distance he could hear metallic echoes of distorted, angry shouts.
Trembling, he closed his eyes and waited for someone to help him.
He'd asked Psychiatric Officer Bychkov to help him dress in his old uniform, the one with the Star of the Tsiolkovsky Order sewn above the left breast pocket. The black dress boots of heavy quilted nylon, with their Velcro soles, would no longer fit his twisted feet; so his feet remained bare.
Bychkov's injection had straightened him out within an hour, leaving him alternately depressed and furiously angry. Now he waited in the museum for Yefremov to answer his summons.
They called his home the Museum of the Soviet Triumph in Space, and as his rage subsided, to be replaced with an ancient bleakness, he felt very much as if he were simply another one of the exhibits. He stared gloomily at the gold-framed portraits of the great visionaries of space, at the faces of Tsiolkovsky, Rynin, Tupolev. Below these, in slightly smaller frames, were portraits of Verne, Goddard, and O'Neill.
In moments of extreme depression he had sometimesimagined that he could detect a common strangeness in their eyes, particularly in the eyes of the two Americans. Was it simply craziness, as he sometimes thought in his most cynical moods? Or was he able to glimpse a subtle manifestation of some weird, unbalanced force that he had often suspected of being human evolution in action?
Once, and only once, Korolev had seen that look in his own eyes â on the day he'd stepped on to the soil of the Coprates Basin. The Martian sunlight, glinting within his helmet visor, had shown him the reflection of two steady, alien eyes â fearless, yet driven â and the quiet secret shock of it, he now realized, had been his life's most memorable, most transcendental moment.
Above the portraits, oily and inert, was a painting that depicted the landing in colors that reminded him of borscht and gravy, the Martian landscape reduced to the idealistic kitsch of Soviet Socialist realism. The artist had posed the suited figure beside the lander with all of the official style's deeply sincere vulgarity.
Feeling tainted, he awaited the arrival of Yefremov, the KGB man, Kosmograd's political officer.
When Yefremov finally entered the Salyut, Korolev noted the split lip and the fresh bruises on the man's throat. He wore a blue Kansai jump suit of Japanese silk and stylish Italian deck shoes. He coughed politely. âGood morning, Comrade Colonel.'
Korolev stared. He allowed the silence to lengthen. âYefremov,' he said heavily, âI am not happy with you.'
Yefremov reddened, but he held his gaze. âLet us speak frankly to each other, Colonel, as Russian to Russian. It was not, of course, intended for you.'
âThe Fear, Yefremov?'
âThe beta-carboline, yes. If you hadn't pandered totheir antisocial actions, if you hadn't accepted their bribe, it would not have happened.'
âSo I am a pimp, Yefremov? A pimp and a drunkard? You are a cuckold, a smuggler, and an informer. I say this,' he added, âas one Russian to another.'
Now the KGB man's files assumed the official mask of bland and untroubled righteousness.
âBut tell me, Yefremov, what it is that you are really about. What have you been doing since you came to Kosmograd? We know that the complex will be stripped. What is in store for the civilian crew when they return to Baikonur? Corruption hearings?'
âThere will be interrogation, certainly. In certain cases there may be hospitalization. Would you care to suggest, Colonel Korolev, that the Soviet Union is somehow at fault for Kosmograd's failures?'
Korolev was silent.
âKosmograd was a dream, Colonel. A dream that failed. Like space. We have no need to be here. We have an entire world to put in order. Moscow is the greatest power in history. We must not allow ourselves to lose the global perspective.'
âDo you think we can be brushed aside that easily? We are an elite, a highly trained technical elite.'
âA minority, Colonel, an obsolete minority. What do you contribute, aside from reams of poisonous American trash? The crew here were intended to be workers, not bloated black marketeers trafficking in jazz and pornography.' Yefremov's face was smooth and calm. âThe crew will return to Baikonur. The weapons are capable of being directed from the ground. You, of course, will remain, and there will be guest cosmonauts: Africans, South Americans. Space still retains a degree of its former prestige for these people.'
Korolev gritted his teeth. âWhat have you done with the boy?'
âYour Plumber?' The political officer frowned. âHe has assaulted an officer of the Committee for State Security. He will remain under guard until he can be taken to Baikonur.'
Korolev attempted an unpleasant laugh. âLet him go. You'll be in too much trouble yourself to press charges. I'll speak with Marshal Gubarev personally. My rank may be entirely honorary, Yefremov, but I do retain a certain influence.'
The KGB man shrugged. âThe gun crew are under orders from Baikonur to keep the communications module under lock and key. Their careers depend on it.'
âMartial law, then?'
âThis isn't Kabul, Colonel. These are difficult times. You have the moral authority here; you should try to set an example.'
âWe shall see,' Korolev said.
Kosmograd swung out of Earth's shadow into raw sunlight. The walls of Korolev's Salyut popped and creaked like a nest of glass bottles. A Salyut's viewports, Korolev thought absently, fingering the broken veins at his temple, were always the first things to go.
Young Grishkin seemed to have the same thought. He drew a tube of caulk from an ankle pocket and began to inspect the seal around the viewport. He was the Plumber's assistant and closest friend.
âWe must now vote,' Korolev said wearily. Eleven of Kosmograd's twenty-four civilian crew members had agreed to attend the meeting, twelve if he counted himself. That left thirteen who were either unwilling to risk involvement or else actively hostile to the idea of a strike.Yefremov and the six-man gun crew brought the total number of those not present to twenty. âWe've discussed our demands. All those in favor of the list as it stands â' He raised his good hand. Three others raised theirs. Grishkin, busy at the viewport, stuck out his foot.
Korolev sighed. âThere are few enough as it is. We'd best have unanimity. Let us hear your objections.'
âThe termmilitary custody,'said a biological technician named Korovkin, âmight be construed as implying that the military, and not the criminal Yefremov, is responsible for the situation.' The man looked acutely uncomfortable. âWe are in sympathy otherwise but will not sign. We are Party members.' He seemed about to add something but fell silent. âMy mother,' his wife said quietly, âwas Jewish.'
Korolev nodded, but he said nothing.
âThis is all criminal foolishness,' said Glushko, the botanist. Neither he nor his wife had voted. âMadness. Kosmograd is finished, we all know it, and the sooner home the better. What has this place ever been but a prison?' Free fall disagreed with the man's metabolism; in the absence of gravity, blood tended to congest in his face and neck, making him resemble one of his experimental pumpkins.
âYou are a botanist, Vasili,' his wife said stiffly, âwhile I you will recall, am a Soyuz pilot. Your career is not at stake.'
âI willnotsupport this idiocy!' Glushko gave the bulkhead a savage kick that propelled him from the room. His wife followed, complaining bitterly in the grating undertone crew members learned to employ for private arguments.
âFive are willing to sign,' Korolev said, âout of a civilian crew of twenty-four.'
âSix,' said Tatjana, the other Soyuz pilot, her dark hair drawn back and held with a braided band of green nylon webbing. âYou forget the Plumberâ¦'
âThe sun balloons!' cried Grishkin, pointing toward the earth. âLook!'
Kosmograd was above the coast of California now, clean shorelines, intensely green fields, vast decaying cities whose names rang with a strange magic. High above a fleece of stratocumulus floated five solar balloons, mirrored geodesic spheres tethered by power lines; they had been a cheaper substitute for a grandiose American plan to build solar-powered satellites. The things worked, Korolev supposed, because for the last decade he'd watched them multiply.
âAnd they say that people live in those things?' Systems Officer Stoiko had joined Grishkin at the viewport.
Korolev remembered the pathetic flurry of strange American energy schemes in the wake of the Treaty of Vienna. With the Soviet Union firmly in control of the world's oil flow, the Americans had seemed willing to try anything. Then the Kansas meltdown had permanently soured them on reactors. For more than three decades they'd been gradually sliding into isolationism and industral decline.Space,he thought ruefully,they should have gone into space. He'd never understood the strange paralysis of will that had seemed to grip their brilliant early efforts. Or perhaps it was simply a failure of imagination, of vision.You see, Americans,he said silently,you really should have tried to join us here in our glorious future, here in Kosmograd.
âWho would want to live in something like that?' Stoiko asked, punching Grishkin's shoulder and laughing with the quiet energy of desperation.
âYou're joking,' said Yefremov. âSurely we're all in enough trouble as it is.'
âWe're not joking, Political Officer Yefremov, and these are our demands.' The five dissidents had crowded into the Salyut the man shared with Valentina, backing him against the aft screen. The screen was decorated with a meticulously airbrushed photograph of the premier, who was waving from the back of a tractor. Valentina, Korolev knew, would be in the museum now with Romanenko, making the straps creak. The colonel wondered how Romanenko so regularly managed to avoid his duty shifts in the gun room.
Yefremov shrugged. He glanced down the list of demands. âThe Plumber must remain in custody. I have direct orders. As for the rest of this document â'
âYou are guilty of unauthorized use of psychiatric drugs!' Grishkin shouted.
âThat was entirely a private matter,' said Yefremov calmly.
âA criminal act,' said Tatjana.
âPilot Tatjana, we both know that Grishkin here is the station's most activesamisdatapirate! We are all criminals, don't you see? That's the beauty of our system, isn't it?' His sudden, twisted smile was shockingly cynical. âKosmograd is not thePotemkin,and you are not revolutionaries. And youdemandto communicate with Marshal Gubarev? He is in custody at Baikonur. And youdemandto communicate with the minister of technology? The minister is leading the purge.' With a decisive gesture he ripped the printout to pieces, scraps of yellow flimsy scattering in free fall like slow-motion butterflies.
On the ninth day of the strike, Korolev met with Grishkin and Stoiko in the Salyut that Grishkin would ordinarily have shared with the Plumber.
For forty years the inhabitants of Kosmograd had fought an antiseptic war against mold and mildew. Dust, grease, and vapor wouldn't settle in free fall, and spore lurked everywhere â padding, in clothing, in the ventilation ducts. In the warm, moist petri-dish atmosphere, they spread like oil slicks. Now there was a reek of dry rot in the air, overlaid with ominous whiffs of burning insulation.
Korolev's sleep had been broken by the hollow thud of a departing Soyuz lander, Glushko and his wife, he supposed. During the past forty-eight hours, Yefremov had supervised the evacuation of the crew members who had refused to join the strike. The gun crew kept to the gun room and their barracks ring, where they still held Nikita the Plumber.
Grishkin's Salyut had become strike headquarters. None of the male strikers had shaved, and Stoiko had contracted a staph infection that spread across his forearms in angry welts. Surrounded by lurid pinups from American television, they ressembled some degenerate trio of pornographers. The lights were dim; Kosmograd ran on half-power. âWith the others gone,' Stoiko said, âour hand is strengthened.'
Grishkin groaned. His nostrils were festooned with white streamers of surgical cotton. He was convinced that Yefremov would try to break the strike with beta-carboline aerosols. The cotton plugs were just one symptom of the general level of strain and paranoia. Before the evacuation order had come from Baikonur, one of the technicians had taken to playing Tchaikovsky's1812 Overtureat shattering volume for hours on end. And Glushko had chased his wife, naked, bruised, and screaming, up and down the length of Kosmograd. Stoiko had accessed the KGB man's files and Bychkov's psychiatric records;meters of yellow printout curled through the corridors in flabby spirals, rippling in the current from the ventilators.
âThink what their testimony will be doing to us ground-side,' muttered Grishkin. âWe won't even get a trial. Straight to thepsikuska.' The sinister nickname for the political hospitals seemed to galvanize the boy with dread. Korolev picked apathetically at a viscous pudding of chlorella.
Stoiko snatched a drifting scroll of printout and read aloud. âParanoia with a tendency to overesteem ideas! Revisionist fantasies hostile to the social system!' He crumpled the paper. âIf we could seize the communications module, we could tie into an American comsat and dump the whole thing in their laps. Perhaps that would show Moscow something about our hostility!'
Korolev dug a stranded fruit fly from his algae pudding. Its two pairs of wings and bifurcated thorax were mute testimony to Kosmograd's high radiation levels. The insects had escaped from some forgotten experiment; generations of them had infested the station for decades. âThe Americans have no interest in us,' Korolev said. âMoscow can no longer be embarrassed by such revelations.'
âExcept when the grain shipments are due,' Grishkin said.
âAmerica needs to sell as badly as we need to buy.' Korolev grimly spooned more chlorella into his mouth, chewed mechanically, and swallowed. âThe Americans couldn't reach us even if they desired to. Canaveral is in ruins.'
âWe're low on fuel,' Stoiko said.
âWe can take it from the remaining landers,' Korolev said.
âThen how in hell would we get backdown?'Grishkin'sfists trembled. âEven in Siberia, there are trees, trees; the sky! To hell with it! Let it fall to pieces! Let it fall and burn!'
Korolev's pudding spattered across the bulkhead.
âOh, Christ,' Grishkin said, âI'm sorry, Colonel. I know you can't go back.'
When he entered the museum, he found Pilot Tatjana suspended before that hateful painting of the Mars Landing, her cheeks slick with tears.
âDo you know, Colonel, they have a bust of you at Baikonur? In bronze. I used to pass it on my way to lectures.' Her eyes were red-rimmed with sleeplessness.
âThere are always busts. Academies need them.' He smiled and took her hand.
âWhat was it like that day?' She still stared at the painting.
âI hardly remember. I've seen the tapes so often, now I remember them instead. My memories of Mars are any schoolchild's.' He smiled for her again. âBut it was not like this bad painting. In spite of everything, I'm still certain of that.'
“Why has it all gone this way, Colonel? Why is it ending now? When I was small I saw all this on television. Our future in space was forever â'
âPerhaps the Americans were right. The Japanese sent machines instead, robots to build their orbital factories. Lunar mining failed for us, but we thought there would at least be a permanent research facility of some kind. It all had to do with purse strings, I suppose. With men who sit at desks and make decisions.'
âHere is their final decision with regard to Kosmograd.' She passed him a folded scrap of flimsy. âI found this in the printout of Yefremov's orders from Moscow. They'llallow the station's orbit to decay over the next three months.'
He found that now he too was staring fixedly at the painting he loathed. âIt hardly matters anymore,' he heard himself say.
And then she was weeping bitterly, her face pressed hard against Korolev's crippled shoulder. âBut I have a plan, Tatjana,' he said, stroking her hair. âYou must listen.'
He glanced at his old Rolex. They were over eastern Siberia. He remembered how the Swiss ambassador had presented him with the watch in an enormous vaulted room in the Grand Kremlin Palace.
It was time to begin.
He drifted out of his Salyut into the docking sphere, batting at a length of printout that tried to coil around his head.
He could still work quickly and efficiently with his good hand. He was smiling as he freed a large oxygen bottle from its webbing straps. Bracing himself against a handhold, he flung the bottle across the sphere with all his strength. It rebounded harmlessly with a harsh clang. He went after it, caught it, and hurled it again.
Then he hit the decompression alalrm.
Dust spurted from speakers as a Klaxon began to wail. Triggered by the alarm, the docking bays slammed shut with a wheeze of hydraulics. Korolev's ears popped. He sneezed, then went after the bottle again.
The lights flared to maximum brilliance, then flickered out. He smiled in the darkness, groping for the steel bottle. Stoiko had provoked a general systems crash. It hadn't been difficult. The memory banks were already riddled to the point of collapse with bootlegged televisionbroadcasts. âThe real bareknuckle stuff,' he muttered, banging the bottle against the wall. The lights flickered on weakly as emergency cells came on line.
His shoulder began to ache. Stoically he continued pounding, remembering the din a real blowout caused. It had to be good. It had to fool Yefremov and the gun crew.
With a squeal, the manual wheel of one of the hatches began to rotate. It thumped open, finally, and Tatjana looked in, grinning shyly.
âIs the Plumber free?' he asked, releasing the bottle.
âStoiko and Umansky are reasoning with the guard.' She drove a fist into her open palm. âGrishkin is preparing the landers.'
He followed her up to the next docking sphere. Stoiko was helping the Plumber through the hatch that led from the barracks ring. The Plumber was barefoot, his face greenish under a scraggly growth of beard. Meteorologist Umansky followed them, dragging the limp body of a soldier.
âHow are you, Plumber?' Korolev asked.
âShaky. They've kept me on the Fear. Not big doses, but â and I thought that that was a real blowout!'
Grishkin slid out of the Soyuz lander nearest Korolev, trailing a bundle of tools and meters on a nylon lanyard. âThey all check out. The crash left them under their own automatics. I've been at their remotes with a screwdriver so they can't be overriden by ground control. How are you doing, my Nikita!' he asked the Plumber. âYou'll be going in steep to central China.'
The Plumber winced, shook himself, and shivered, âI don't speak Chinese.'
Stoiko handed him a printout. âThis is in phoneticMandarin.I WISH TO DEFECT,TAKE ME TO THE NEAREST JAPANESE EMBASSY.'
The Plumber grinned and ran his fingers through his thatch of sweat-stiffened hair. âWhat about the rest of you?' he asked.
âYou think we're doing this for your benefit alone?' Tatjana made a face at him. âMake sure the Chinese news services get the rest of that scroll, Plumber. Each of us has a copy. We'll see that the world knows what the Soviet Union intends to do to Colonel Yuri Vasilevich Korolev, first man on Mars!' She blew the Plumber a kiss.
âHow about Filipchenko here?' Umansky asked. A few dark spheres of congealing blood swung crookedly past the unconscious soldier's cheek.
âWhy don't you take the poor bastard with you,' Korolev said.
âCome along then, shithead,' the Plumber said, grabbing Filipchenko's belt and towing him toward the Soyuz hatch. âI, Nikita the Plumber, will do you the favor of your miserable lifetime.'
Korolev watched as Stoiko and Grishkin sealed the hatch behind them.
âWhere are Romanenko and Valentina?' Korolev asked, checking his watch again.
âHere, my colonel,' Valentina said, her blond hair floating around her face in the hatch of another Soyuz. âWe have been checking this one out.' She giggled.
âTime enough for that in Tokyo,' Korolev snapped. âThey'll be scrambling jets in Vladivostok and Hanoi within minutes.'
Romanenko's bare, brawny arm emerged and yanked her back into the lander. Stoiko and Grishkin sealed the hatch.
âPeasants in space.' Tatjana made a spitting noise.
Kosmograd boomed hollowly as the Plumber, with the unconscious Filipchenko, cast off. Another boom and the lovers were off as well.
âCome along, friend Umansky,' said Stoiko. âAnd farewell, Colonel!' The two men headed down the corridor.
âI'll go with you,' Grishkin said to Tatjana. He grinned. âAfter all, you're a pilot.'
âNo,' she said. âAlone. We'll split the odds. You'll be fine with the automatics. Just don't touch anything on the board.'
Korolev watched her help him into the sphere's last Soyuz.
âI'll take you dancing, Tatjana,' Grishkin said, âin Tokyo.' She sealed the hatch. Another boom, and Stoiko and Umansky had cast off from the next docking sphere.
âGo now, Tatjana,' Korolev said. âHurry. I don't want them shooting you down over international waters.'
âThat leaves you here alone, Colonel, alone with our enemies.'
âWhen you've gone, they'll go as well,' he said. âAnd I depend on your publicity to embarrass the Kremlin into keeping me alive here.'
âAnd what shall I tell them in Tokyo, Colonel? have you a message for the world?'
âTell themâ¦' and every clichÃ© came rushing to him with absolute lightness that made him want to laugh hysterically:One small stepâ¦We came in peaceâ¦Workers of the worldâ¦' You must tell them that I need it,' he said, pinching his shrunken wrist, âin my very bones.'
She embraced him and slipped away.
He waited alone in the docking sphere. The silence scratched away at his nerves; the systems crash haddeactivated the ventilation system, whose hum he'd lived with for twenty years. At last he heard Tatjana's Soyuz disengage.
Someone was coming down the corridor. It was Yefremov, moving clumsily in a vacuum suit. Korolev smiled.
Yefremov wore his bland, official mask behind the Lexan faceplate, but he avoided meeting Korolev's eyes as he passed. He was heading for the gun room.
âNo!' Korolev shouted.
The Klaxon blared the station's call to full battle alert.
The gun-room hatch was open when he reached it. Inside, the soldiers were moving jerkily in the galvanized reflex of constant drill, yanking the broad straps of their console seats across the chests of their bulky suits.
âDon't do it!' He clawed at the stiff accordion fabric of Yefremov's suit. One of the accelerators powered up with a staccato whine. On a tracking screen, green cross hairs closed in on a red dot.
Yefremov removed his helmet. Calmly, with no change in his expression, he backhanded Korolev with the helmet.
âMake them stop!' Korolev sobbed. The walls shook as a beam cut loose with the sound of a cracking whip. âYour wife, Yefremov! She's out there!'
âOutside, Colonel.' Yefremov grabbed Korolev's arthritic hand and squeezed. Korolev screamed. âOutside.' A gloved fist struck him in the chest.
Korlev pounded helplessly on the vacuum suit as he was shoved out into the corridor. âEven I, Colonel, dare not come between the Red Army and its orders.' Yefremov looked sick now; the mask had crumbled. âFine sport,' he said. âWait here until it's over.'
Then Tatjana's Soyuz struck the beam installation and the barracks ring. In a split-second daguerreotype of rawsunlight, Korolev saw the gun room wrinkle and collapse like a beer can crushed under a boot; he saw the decapitated torso of a soldier spinning away from a console; he saw Yefremov try to speak, his hair streaming upright as vacuum tore the air in his suit out through his open helmet ring. Fine twin streams of blood arced from Korolev's nostrils, the roar of escaping air replaced by a deeper roaring in his head.
The last thing Korolev remembered hearing was the hatch door slamming shut.
When he woke, he woke to darkness, pulsing agony behind his eyes, remembering old lectures. This was as great a danger as the blowout itself, nitrogen bubbling through the blood to strike with white-hot, crippling painâ¦
But it was all so remote, so academic, really. He turned the wheels of the hatches out of some strange sense of noblesse oblige, nothing more. The labor was quite onerous, and he wished very much to return to the museum and sleep.
He could repair the leaks with caulk, but the systems crash was beyond him. He had Glushko's garden. With the vegetables and algae, he wouldn't starve or smother. The communications module had gone with the gun room and the barracks ring, sheared from the station by the impact of Tatjana's suicidal Soyuz. He assumed that the collision had perturbed Kosmograd's orbit, but he had no way of predicting the hour of the station's final incandescent meeting with the upper atmosphere. He was often ill now, and he often thought that he might die before burnout, which disturbed him.
He spent uncounted hours screening the museum's library of tapes. A fitting pursuit for the Last Man inSpace who had once been the First Man on Mars.
He became obsessed with the icon of Gagarin, endlessly rerunning the grainy television images of the Sixties, the newsreels that led so unalterably to the cosmonaut's death. The stale air of Kosmograd swam with the spirits of martyrs. Gagarin, the first Salyut crew, the Americans roasted alive in their squat Apolloâ¦
Often he dreamed of Tatjana, the look in her eyes like the look he imagined in the eyes of the museum's portraits. And once he woke, or dreamed he woke, in the Salyut where she had slept, to find himself in his old uniform, with a battery-powered work light strapped across his forehead. From a great distance, as though he watched a newsreel on the museum's monitor, he saw himself rip the Star of the Tsiolkovsky Order from his pocket and staple it to her pilot's certificate.
When the knocking came, he knew that it must be a dream as well.
The hatch wheeled open.
In the bluish, flickering light from the old film, he saw that the woman was black. Long corkscrews of matted hair rose like cobras around her head. She wore goggles, a silk aviator's scarf twisting behind her in free fall. âAndy,' she said in English, âyou better come see this!'
A small, muscular man, nearly bald, and wearing only a jockstrap and a jangling toolbelt, floated up behind her and peered in. âIs he alive?'
âOf course I am alive,' said Korolev in slightly accented English.
The man called Andy sailed in over her head. âYou okay, Jack?' His right bicep was tattooed with a geodesic balloon above crossed lightning bolts and bore the legend SUNSPARK 15, UTAH. âWe weren't expecting anybody.'
âNeither was I,' said Korolev, blinking.
âWe've come to live here,' said the woman, drifting closer.
âWe're from the balloons. Squatters, I guess you could say. Heard the place was empty. You know the orbit's decaying on this thing?' The man executed a clumsy midair somersault, the tools clattering on his belt. âThis free fall's outrageous.'
âGod,' said the woman, âI just can't get used to it! It's wonderful. It's like skydiving, but there's no wind.'
Korolev stared at the man, who had the blundering, careless look of someone drunk on freedom since birth. âBut you don't even have a launchpad,' he said.
âLaunchpad?' the man said, laughing. âWhat we do, we haul these surplus booster engines up the cables to the balloons, drop 'em, and fire 'em in midair.'
âThat's insane,' Korolev said.
âGot us here, didn't it?'
Korolev nodded. If this was all a dream, it was a very peculiar one. âI am Colonel Yuri Vasilevich Korolev.'
âMars!' The woman clapped her hands. âWait'll the kids hear that.' She plucked the little Lunokhod moon-rover model from the bulkhead and began to wind it.
âHey,' the man said, âI gotta work. We got a bunch of boosters outside. We gotta lift this thing before it starts burning.'
Something clanged against the hull. Kosmograd rang with the impact. âThat'll be Tulsa,' Andy said, consulting a wrist watch. âRight on time.'
âBut why?' Korolev shook his head, deeply confused. âWhy have you come?'
âWe told you. To live here. We can enlarge this thing, maybe build more. They said we'd never make it living in the balloons, but we were the only ones who could make them work. It was our one chance to get out here on ourown. Who'd want to live out here for the sake of some government, some army brass, a bunch of pen pushers? You have towanta frontier â want it in your bones, right?'
Korolev smiled. Andy grinned back. âWe grabbed those power cables and just pulled ourselves straight up. And when you get to the top, well, man, you either make that big jump or else you rot there.' His voice rose. âAnd you don't look back, no sir! We've made that jump, and we're here to stay!'
The woman placed the model's Velcro wheels against the curved wall and released it. It went scooting along above their heads, whirring merrily. âIsn't that cute? The kids are just going to love it.'
Korolev stared into Andy's eyes. Kosmograd rang again, jarring the little Lunokhod model on to a new course.
âEast Los Angeles,' the woman said. “That's the one with the kids in it.' She took off her goggles, and Korolev saw her eyes brimming over with a wonderful lunacy.
âWell,' said Andy, rattling his toolbelt, âyou feel like showing us around?'New Rose Hotel
Seven rented nights in this coffin, Sandii. New Rose Hotel. How I want you now. Sometimes I hit you. Replay it so slow and sweet and mean, I can almost feel it. Sometimes I take your little automatic out of my bag, run my thumb down smooth, cheap chrome. Chinese .22, its bore no wider than the dilated pupils of your vanished eyes.
Fox is dead now, Sandii.
Fox told me to forget you.
I remember Fox leaning against the padded bar in the dark lounge of some Singapore hotel, Bencoolen Street, his hands describing different spheres of influence, internal rivalries, the arc of a particular career, a point of weakness he had discovered in the armor of some think tank. Fox was point man in the skull wars, a middleman for corporate crossovers. He was a soldier in the secret skirmishes of the zaibatsus, the multinational corporations that control entire economies.
I see Fox grinning, talking fast, dismissing my ventures into intercorporate espionage with a shake of his head. The Edge, he said, have to find that Edge. He made you hear the capital E. The Edge was Fox's grail, that essential fraction of sheer human talent, non-transferable, locked in the skulls of the world's hottest research scientists.
You can't put Edge down on paper. Fox said, can't punch Edge into a diskette. The money was in corporate defectors.
Fox was smooth, the severity of his dark French suits offset by a boyish forelock that wouldn't stay in place. I never liked the way the effect was ruined when he stepped back from the bar, his left shoulder skewed at an angle no Paris tailor could conceal. Someone had run him over with a taxi in Berne, and nobody quite knew how to put him together again.
I guess I went with him because he said he was after that Edge. And somewhere out there, on our way to find the Edge, I found you, Sandii.
The New Rose Hotel is a coffin rack on the ragged fringes of Narita International. Plastic capsules a meter high and three long, stacked like surplus Godzilla teeth in a concrete lot off the main road to the airport. Each capsule has a television mounted flush with the ceiling. I spend whole days watching Japanese game shows and old movies. Sometimes I have your gun in my hand.
Sometimes I can hear the jets, laced into holding patterns over Narita. I close my eyes and imagine the sharp, white contrails fading, losing defintion.
You walked into a bar in Yokohama, the first time I saw you. Eurasian, half gaijin, long-hipped and fluid in a Chinese knock-off of some Tokyo designer's original. Dark European eyes, Asian cheekbones. I remember you dumping your purse out on the bed, later, in some hotel room, pawing through your makeup. A crumpled wad of new yen, dilapidated address book held together with rubber bands, a Mitsubishi bank chip, Japanese passport with a gold chrysanthemum stamped on the cover, and the Chinese .22.
You told me your story. Your father had been an executive in Tokyo, but now he was disgraced, disowned, cast down by Hosaka, the biggest zaibatsu of all. Thatnight your mother was Dutch, and I listened as you spun out those summers in Amsterdam for me, the pigeons in Dam Square like a soft, brown carpet.
I never asked what your father might have done to earn his disgrace. I watched you dress; watched the swing of your dark, straight hair, how it cut the air.
Now Hosaka hunts me.
The coffins of New Rose are racked in recycled scaffolding, steel pipes under bright enamel. Paint flakes away when I climb the ladder, falls with each step as I follow the catwalk. My left hand counts off the coffin hatches, their multilingual decals warning of fines levied for the loss of a key.
I look up as the jets rise out of Narita, passage home, distant now as any moon.
Fox was quick to see how we could use you, but not sharp enough to credit you with ambition. But then he never lay all night with you on the beach at Kamakura, never listened to your nightmares, never heard an entire imagined childhood shift under those stars, shift and roll over, your child's mouth opening to reveal some fresh past, and always the one, you swore, that was really and finally the truth.
I didn't care, holding your hips while the sand cooled against your skin.
Once you left me, ran back to that beach saying you'd forgotten our key. I found it in the door and went after you, to find you ankle-deep in surf, your smooth back rigid, trembling; your eyes far away. You couldn't talk. Shivering. Gone. Shaking for different futures and better pasts.
Sandii, you left me here.
You left me all your things.
This gun. Your makeup, all the shadows and blushescapped in plastic. Your Cray microcomputer, a gift from Fox, with a shopping list you entered. Sometimes I play that back, watching each item cross the little silver screen.
A freezer. A fermenter. An incubator. An electrophoresis system with integrated agarose cell and transilluminator. A tissue embedder. A high-performance liquid chromatograph. A flow cytometer. A spectrophotometer. Four gross of borosilicate scintillation vials. A microcentrifuge. And one DNA synthesizer, with in-built computer. Plus software.
Expensive, Sandii, but then Hosaka was footing our bills. Later you made them pay even more, but you were already gone.
Hiroshi drew up that list for you. In bed, probably. Hiroshi Yomiuri. Maas Biolabs GmbH had him. Hosaka wanted him.
He was hot. Edge and lots of it. Fox followed genetic engineers the way a fan follows players in a favorite game. Fox wanted Hiroshi so bad he could taste it.
He'd sent me up to Frankfurt three times before you turned up, just to have a look-see at Hiroshi. Not to make a pass or even to give him a wink and a nod. Just to watch.
Hiroshi showed all the signs of having settled in. He'd found a German girl with a taste for conservative loden and riding boots polished the shade of a fresh chestnut. He'd bought a renovated town house on just the right square. He'd taken up fencing and given up kendo.
And everywhere the Maas security teams, smooth and heavy, a rich, clear syrup of surveillance. I came back and told Fox we'd never touch him.
You touched him for us, Sandii. You touched him just right.
Our Hosaka contacts were like specialized cells protectingthe parent organism. We were mutagens, Fox and I, dubious agents adrift on the dark side of the intercorporate sea.
When we had you in place in Vienna, we offered them Hiroshi. They didn't even blink. Dead calm in an LA hotel room. They said they had to think about it.
Fox spoke the name of Hosaka's primary competitor in the gene game, let it fall out naked, broke the protocol forbidding the use of proper names.
They had to think about it, they said.
Fox gave them three days.
I took you to Barcelona a week before I took you to Vienna. I remember you with your hair tucked back into a gray beret, your high Mongol cheekbones reflected in the windows of ancient shops. Strolling down the Ramblas to the Phoenician harbor, past the glass-roofed Mercado selling oranges out of Africa.
The old Ritz, warm in our room, dark, with all the soft weight of Europe pulled over us like a quilt. I could enter you in your sleep. You were always ready. Seeing your lips in a soft, roundOof surprise, your face about to sink into the thick, white pillow â archaic linen of the Ritz. Inside you I imagined all the neon, the crowds surging around Shinjuku Station, wired electric night. You moved that way, rhythm of a new age, dreamy and far from any nation's soil.
When we flew to Vienna, I installed you in Hiroshi's wife's favorite hotel. Quiet, solid, the lobby tiled like a marble chessboard, with brass elevators smelling of lemon oil and small cigars. It was easy to imagine her there, the highlights on her riding boots reflected in polished marble, but we knew she wouldn't be coming along, not this trip.
She was off to some Rhineland spa, and Hiroshi was inVienna for a conference. When Maas security flowed in to scan the hotel, you were out of sight.
Hiroshi arrived an hour later, alone.
Imagine an alien, Fox once said, who's come here to identify the planet's dominant form of intelligence. The alien has a look, then chooses. What do you think he picks? I probably shrugged.
The zaibatsus, Fox said, the multinationals. The blood of a zaibatsu is information, not people. The structure is independent of the individual lives that comprise it. Corporation as life form.
Not the Edge lecture again, I said.
Maas isn't like that, he said, ignoring me.
Maas was small, fast, ruthless. An atavism. Maas was all Edge.
I remember Fox talking about the nature of Hiroshi's Edge. Radioactive nucleases, monoclonal antibodies, something to do with the linkage of proteins, nucleotidesâ¦Hot, Fox called them, hot proteins. High-speed links. He said Hiroshi was a freak, the kind who shatters paradigms, inverts a whole field of science, brings on the violent revision of an entire body of knowledge. Basic patents, he said, his throat tight with the sheer wealth of it, with the high, thin smell of tax-free millions that clung to those two words.
Hosaka wanted Hiroshi, but his Edge was radical enough to worry them. They wanted him to work in isolation.
I went to Marrakech, to the old city, the Medina. I found a heroin lab that had been converted to the extraction of pheromones. I bought it, with Hosaka's money.
I walked the marketplace at Djemaa-el-Fna with a sweating Portuguese businessman, discussing fluorescentlighting and the installation of ventilated specimen cages. Beyond the city walls, the high Atlas. Djemaa-el-Fna was thick with jugglers, dancers, storytellers, small boys turning lathes with their feet, legless beggars with wooden bowls under animated holograms advertising French software.
We strolled past bales of raw wool and plastic tubs of Chinese microchips. I hinted that my employers planned to manufacture synthetic beta-endorphin. Always try to give them something they understand.
Sandii, I remember you in Harajuka, sometimes. Close my eyes in this coffin and I can see you there â all the glitter, crystal maze of the boutiques, the smell of new clothes. I see your cheekbones ride past chrome racks of Paris leathers. Sometimes I hold your hand.
We thought we'd found you, Sandii, but really you'd found us. Now I know you were looking for us, or for someone like us. Fox was delighted, grinning over our find: such a pretty new tool, bright as any scalpel. Just the thing to help us sever a stubborn Edge, like Hiroshi's, from the jealous parent-body of Maas Biolabs.
You must have been searching a long time, looking for a way out, all those nights down Shinjuku. Nights you carefully cut from the scattered deck of your past.
My own past had gone down years before, lost with all hands, no trace. I understood Fox's late-night habit of emptying his wallet, shuffling through his identification. He'd lay the pieces out in different patterns, rearrange them, wait for a picture to form. I knew what he was looking for. You did the same thing with your childhoods.
In New Rose, tonight, I choose from your deck of pasts.
I choose the original version, the famous Yokohama hotel-room text, recited to me that first night in bed. Ichoose the disgraced father, Hosaka executive. Hosaka. How perfect. And the Dutch mother, the summers in Amsterdam, the soft blanket of pigeons in the Dam Square afternoon.
I came in out of the heat of Marrakech into Hilton air conditioning. Wet shirt clinging cold to the small of my back while I read the message you'd relayed through Fox. You were in all the way; Hiroshi would leave his wife. It wasn't difficult for you to communicate with us, even through the clear, tight film of Maas security; you'd shown Hiroshi the perfect little place for coffee and kipferl. Your favorite waiter was white-haired, kindly, walked with a limp, and worked for us. You left your messages under the linen napkin.
All day today I watched a small helicopter cut a tight grid above this country of mine, the land of my exile, the New Rose Hotel. Watched from my hatch as its patient shadow crossed the grease-stained concrete. Close. Very close.
I left Marrakech for Berlin. I met with a Welshman in a bar and began to arrange for Hiroshi's disappearance.
It would be a complicated business, intricate as the brass gears and sliding mirrors of Victorian stage magic, but the desired effect was simple enough. Hiroshi would step behind a hydrogen-cell Mercedes and vanish. The dozen Maas agents who followed him constantly would swarm around the van like ants; the Maas security apparatus would harden around his point of departure like epoxy.
They know how to do business promptly in Berlin. I was even able to arrange a last night with you. I kept it secret from Fox; he might not have approved. Now I've forgotten the town's name. I knew it for an hour on theautobahn, under a gray Rhenish sky, and forgot it in your arms.
The rain began, sometime toward morning. Our room had a single window, high and narrow, where I stood and watched the rain fur the river wth silver needles. Sound of your breathing. The river flowed beneath low, stone arches. The street was empty. Europe was a dead museum.
I'd already booked your flight to Marrakech, out of Orly, under your newest name. You'd be on your way when I pulled the final string and dropped Hiroshi out of sight.
You'd left your purse on the dark old bureau. While you slept I went through your things, removed anything that might clash with the new cover I'd bought for you in Berlin. I took the Chinese .22, your microcomputer, and your bank chip. I took a new passport, Dutch, from my bag, a Swiss bank chip in the same name, and tucked them into your purse.
My hand brushed something flat, I drew it out, held the thing, a diskette. No labels.
It lay there in the palm of my hand, all that death. Latent, coded, waiting.
I stood there and watched you breathe, watched your breasts rise and fall. Saw your lips slightly parted, and in the jut and fullness of your lower lip, the faintest suggestion of bruising.
I put the diskette back into your purse. When I lay down beside you, you rolled against me, waking, on your breath all the electric night of a new Asia, the future rising in you like a bright fluid, washing me of everything but the moment. That was your magic, that you lived outside of history, all now.